Marvel Delays Civil War


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from newsarama



In information released to comic book retailers Tuesday, Marvel has announced that issue #4 and 5 of their hugely successful Civil War series are being delayed.

Civil War #4 [and all its variant cover editions], originally scheduled to be released tomorrow, is now scheduled for September 20th. Issue #5 and all its variants, originally scheduled for next month, is now scheduled for November 15th.

And because of the nature of the storyline, the delays in the main series will affect the related and tie-in titles, like Civil War: Front Line.

In the announcement, Marvel wrote:

“Over the next few weeks, the Civil War proper title and a few of the tie in books that are closely related to the story in the main book will be shipping later than originally planned. In an attempt to accommodate the creative team of Millar and McNiven and keep the artistic integrity and high standards of the event, we will be shifting the following titles:

CIVIL WAR 4 (JUN061952; $2.99) moves to 9/20

CIVIL WAR 4 TURNER VARIANT (JUN061953; $2.99) moves to 9/20

CIVIL WAR 4 TURNER SKETCH VARIANT (APR068201; $2.00) moves to 9/20

FANTASTIC FOUR 540 (JUN061961; $2.99) moves to 9/20

CIVIL WAR FRONT LINE 6 (JUN061955; $2.99) moves to 9/27

AMAZING SPIDER-MAN 535 (JUN061938; $2.99) moves to 9/27

CIVIL WAR FRONT LINE 7 (JUL061956; $2.99) moves to 10/11

CIVIL WAR 5 (JUL061952; $2.99) moves to 11/15

CIVIL WAR 5 TURNER VARIANT (JUL061953; $2.99) moves to 11/15

CIVIL WAR 5 TURNER SKETCH VARIANT (JUL061954; $2.00) moves to 11/15

CIVIL WAR FRONT LINE 8 (JUL061957; $2.99) moves to 11/22

PUNISHER WAR JOURNAL 1 (JUL061988; $2.99) moves to 11/22

PUNISHER WAR JOURNAL 1 (Black and White) (JUL061989; $2.99) moves to 11/22

FANTASTIC FOUR 541 (JUL061965; $2.99) moves to 11/22

AMAZING SPIDER-MAN 536 (JUL061941; $2.99) moves to 11/22

CIVIL WAR 6 (AUG062033; $2.99) moves to 12/20

CIVIL WAR 6 TURNER VARIANT (AUG062034; $2.99) moves to 12/20

CIVIL WAR 6 TURNER SKETCH VARIANT (AUG062035; $2.00) moves to 12/20

CIVIL WAR FRONT LINE 9 (AUG062036; $2.99) moves to 12/20

PUNISHER WAR JOURNAL 2 (AUG062066; $2.99) moves to 12/28

CIVIL WAR FRONT LINE 10 (AUG062037; $2.99) moves to 1/4/07

AMAZING SPIDER-MAN 537 (AUG062018; $2.99) moves to 1/4/07

FANTASTIC FOUR 542 (AUG062045; $2.99) moves to 1/4/07

CIVIL WAR 7 moves to 1/17, Not yet solicited

AMAZING SPIDER-MAN 538 Not yet solicited

FANTASTIC FOUR 543 moves to 1/24/07, Not yet solicited


BLACK PANTHER 23 CW December 2006


BLACK PANTHER 24 CW January 2007

BLACK PANTHER 25 CW February 2007

CIVIL WAR FRONT LINE 11 February 2007

Also, starting in November some Marvel will be branded as “Casualties of War” -- similar to how they branded titles as “Spider-Man Unmasked” and “Road to Civil War”. Those titles are:


In December




In January 2007



“The need for these shifts came about as the September [for November shipping product] Marvel Previews #37 was going to press and we were not able to make adjustments,” reads Marvel’s explanation to retailers. “The December Marvel Previews will reflect the changes and additions. At this point we do not anticipate further changes to the schedule. We apologize for the inconvenience but feel that this is in the best interest of the quality of the event and for retailers to continue to realize the immense sales for these books. We are announcing these shifts early enough in the hopes that retailers can adjust their buying patterns for the next few months. Also, we hope the addition of a few more key Civil War titles will make up for any lost sales that result from these moves.”

I am soo pissed off, DC will be getting 3 additional titles from me as punishment for Marvel's Civil War royal mess up. Marvel's loss is DC's gain.


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Do I have the feeling a Master Yoda rant coming about Marvel's Civil War? The Marvel Universe is in great danger, Luke. Future very dark indeed, Jedi. Hopes the DC Universe learns from the competitior's mistakes & misfortune. As for me, DC will get 3 additional books from me as punishment for Marvel's tardiness.

Books on time--The Jedi Force Wills It to be,


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Update 08.16.06 8:25am - When contacted for comment by Newsarama, writer Mark Millar said: "All I can say is that I'm as surprised by all this as you are. In fact, I only found out about it when I got up this morning and read my email. But you know what? This is a very cool thing for Marvel do to because it would have been so much easier to just go for a cheap fill-in artist instead of pushing back the books. Steve had virtually no lead-time on Civil War and a title with a million characters has proven much tougher than he expected. He and I both assumed a fill-in would be on the cards at some point, but Marvel credit Steve with a huge amount of our book's success and, as a creator, I'm genuinely stunned they spread the project out by another seven weeks to make it work for him. Marvel really took a bullet here. This pushes a lot of cash into the next financial quarter for them and they've really put product over profit here. I absolutely never expected them to work their entire publishing schedule around an art delay, but it's cool that they did and I totally take my hat off to them. Sure, it's horrible when a book we want is a little late, but I can live with a few weeks if it means getting Steve McNiven every issue. Apologies to readers and thanks to many people who were worried this meant I'd got sick again (I'm doing absolutely fine, thanks). This has been the biggest book of the millennium so far and it's clear people are passionate about waiting. But, honestly, it'll be worth it for seven issues of pure McNiven."
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I hate that stuff got pushed back, but I hate it more when there is a change in the art during the middle of the storyline. Its like if you were watching the lord of the rings movies, but The Two Towers had a different set of actors. The story might not change, but its still jarring. And as a result it suffers. I think that Marvel is playing it smart here. Not thinking about the short game, but thinking about the long game.

Rather than keep the monthly addicts happy by throwing a stand-in artist into the mix, make them wait a bit extra and give them a great product. Better to have a good product they can later sell in Trades than to have an ok product that they only sell issue by issue.

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Those are my exact feelings, TheSteve! As much as I'm upset by the delay, I'd rather have McNiven on all seven issues than fill-ins helping him out. It makes the book feel like a cohesive story. That can't be said about Infinite Crisis. With so many artists and inkers (good or not), the book took a hit because it didn't feel whole art-wise. It felt like a mishmash of disjointed puzzle pieces.



While Civil War writer Mark Millar commented to Newsarama about the change in schedule of Marvel’s crossover storyline, artist Steve McNiven has posted (via Millar) a statement on the Millarworld forum

"Hey folks, just thought I should get a post up here. First up apologies to the fans and retailers of civil war. The responsibility for the art delays lies with me, period. I've been working harder than I ever have, (and this is my third profession), but this is the hardest project I've ever done and as Mark said, I had little lead time. It was as big a surprise to me as anyone else that Marvel changed its publishing schedule to allow Mark and I to finish the series together.

When I was sent word of this yesterday, I realized the problems that this will cause for readers and retailers immediately. After reading Hitchy's post I am beginning to understand why Marvel went this way, but it still amazes me. Of course I am proud of the work I have done on Civil War and I am chuffed that Marvel feels the same way, but I worry for the people that could be negatively effected by this. Please realize that the art delays were never meant in a malicious way nor am I being a prima donna with my work. What I'm trying is to do service to the exceptional story that Mark has written. That's it, and is all that I focus on when I'm at the table. I let Marvel know exactly where I am on a daily basis, from day one, so that they can make the decisions like the one they have made. I'll continue to work hard to put out the rest of this series with the best work I can do in the time I have been given and I hope that you, the fans and retailers will stick with us, 'cause Mark has written a real gem here.

The “Hitchy’s post” McNiven refers to is this one, posted by artist Bryan Hitch.

It's easy to think that having a late book is terminal and everybody flies into a panic because it's been a condition of the industry for so long. This is an industry that has, for most of it's seventy years, made it's living on periodicals and we all know they have a limited shelf life. If your book is a month late n the magazine racks your space goes to somebody else because the stores and newsagents wnat it filled.

This is not the case now; for a start comics are mostly sold in specialty stores and they will keep books on shelves for far longer than a single month, secondly there has been an enormous growth in revenue from collections and so called graphic novels.

Years back Perez hit his deadlines on Crisis by eventually going to breakdowns but had Ordway on finishes so the standard was high. Nobody was expecting twenty-five years of continued reformatting and sales of the collections, they were just aiming at deadlines. However, as much as I love my Absolute collection of Crisis as a mark of my comics reading childhood, I don't love the fact they had three different styles on the finish from three different inkers. I hate that on Infinite Crisis that so many cooks are involved when the fab Phil J should have been allowed to complete the project for my own tastes, anyway.

Two of my favourite re-reads in collections are Dark Knight and Watchmen. Nobody now remembers that each was late at the time of the original periodicals but that was a blip, a couple of years in each's 25 year publication history and these will STILL be published 25 years from now. I love these books but how awful would it have been if the otherwise brilliant Jim Aparo had drawn issue 3 of DK, or that DC had Alan Davis do an issue of Watcmen. Both brilliant guys but you would have hated the blip in the collections for the short term gain.

These days we have the benefit of hindsight and there are precedents. You can't set out to create a classic or a series with longevity but it's getting easier for publishers to spot them as they unfold because the collection market is so large now and one can see what works and what doesn't. A fill-in might potentially stave off an unfortunate delay but hurt the long term property potential and the only reason a company would consider a fill-in necessary would be to avoid a financial hit in the short term not to keep you guys happy. If they are willing to take what must be a massive hit in the pocket, believing in it's long term potential, to allow it's creators to finish the book as intended then that isn't really a bad thing.

If we do things the way they have always been done then we don't develop. It pays to be flexible, I guess and Marvel obviously believe they are doing the best thing in the long game for a product they believe in and one that has already proven more successful than they belived possible.

Mark isn't exaggerating when he talks of how quickly this thing was put together and the small lead time. Nobody had intended the book to even exist; other plans were in place but the geniuses of Bendis and especially Mighty Mark started the ball rolling that Mark would evolve into Civil War (which also means we have to find a new title for our big follow up, so thanks MM). It's also been the biggest jobs of both Markie and Stevie's careers and required an enormous amount of work from both. Watcmen was bi-monthly remember and wasn't a crossover. I envy them their massive sucess but not the even more massive work involved. Nobody gets paid more for working harder in comics.

Mark and Steve should be applauded for the efforts as those efforts are a clear indicator of why the book is a success. Marvel should also be applauded for making sure everybody gets the best prossible product. It's a delay guys, not a cancellation. Certainly not a crisis!

So, any "I'm with Iron Man" folks changing their minds after the most recent Front Lines confirmed the SRA is a draft and not just a sign-in sheet?
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While Marvel Comics probably would have preferred the fandom was talking about the events of Civil War #4 this afternoon [like, what by the name of Odin’s beard is up with Thor?], fate hasn’t let that happen. Readers are talking about yesterday’s announced delays to the series and the event in general, and making their feeling known around the comic book Internet community, so Newsarama thought it was time to get more details on Marvel’s perspective on the matter.

We may still discuss these issues with Joe Quesada later this week, but today we sought the input of Civil War editor Tom Brevoort, in a sort of Civil War Room extra edition…

Newsarama: Tom, first all, first question has to be a simple "why"? What’s the reason for the delay? Mark Millar and Steve McNiven have suggested it was McNiven who needs time to catch up on the series, as well as suggesting a lack of lead-time going into the series was a factor. Is this accurate?

Tom Brevoort: It’s everything. I’m sure Mark would rather I not push this button, but I’ve got a writer with a chronic condition, and a penciler who’s never had to handle a story of this magnitude before, with this many unfamiliar characters and situations (not to mention this much spotlight pressure.) Plus, it’s just a hard book to do. And we did get something of a late start, though that might have been surmountable if this was an easier sort of project—the first page of issue #1 was sent to me by Steve on January 3rd.

“And not that anybody’s going to believe me when I say this, but these delays aren’t at all because we’re changing the story Armageddon 2001-style. There are some elements that are shifting around —hence the new 11th issue of Front Line — but that’s simply an issue of us having more elements on the canvas than we have space for in the remaining pages. But the ending that you will read will be the same ending we spent two days coming up with at our editorial retreat back towards the end of ’05, the one that Joss Whedon visited briefly. Sorry, conspiracy guys!

NRAMA: Can you speak about the decision not to seek a fill-in artist to try and get the series back-on track? Or at least delays minimalized, rather than the nearly two months Civil War #5 was pushed back?

TB: It’s no great surprise: fill-in artists suck. And as much as everybody complains about delays like this, and how they’re going to hurt sales and interest, the plain fact of the matter is that fill-in artists hurt it worse — they just do it more quietly, so people who aren’t in the industry and don’t see the sales numbers don’t really realize. For all that everybody’s up in arms about the delay, what readers really want when you scratch the surface and get down to the content of what they’re saying is for the project to be monthly by Mark and Steve. And when that becomes an impossibility, you have to ask yourself what’s going to cause more lasting damage, long-term?

I’m glad that people seem this upset because it shows that they’re really into the story, that they can’t wait until the next one comes out, but the reason that they feel that way is because Mark and Steve are producing an incredible book. And as soon as you bring in a replacement, you can immediately see the ardor of the fans start to cool.

And Civil War #5 is only two months late because delays are cumulative. It takes Steve something like six weeks to draw the book. But when you have to push back #4, that also means you’re pushing back the start date of #5, and so forth.

NRAMA: Although having no conclusive facts, anecdotal observation of the feedback Newsarama has seen from retailers in response to this news suggests a quality fill-in artist would have been accepted and perhaps even preferred given the scope of the event and the sales it's generating. Again, at least by retailers.

TB: Two things on this—and I say this realizing full well that the retailers are the ones who are being most negatively impacted by these delays, given that it’s their cash-flow that’s being loused up.

Firstly, I think the retailers who are saying this are wrong in the long-term, because right this second they’re most concerned about their short-term future, so they’re not worrying about the long term. But to throw out two examples, look at Ultimate Extinction and the follow-up Ultimate Galactus series. They all sold well enough at the end of the day, but as soon as we had to bring in substitute artists — quality artists in all cases — the momentum of the series immediately started to slow. That trilogy should have been a monster seller for the Ultimate line, but it wasn’t. And I think the reason that it wasn’t is that the integrity of the project was compromised as we tried to meet the schedule. And that’ll also effect the long-term sell-through of the Ultimate Galactus trade paperbacks.

Or you can look across town at the end of Infinite Crisis. You can almost chart where the bloom started to go off the rose at the moment when they had to pull Ivan Reis in to do a couple of pages in issue #3. In the short-term, people were willing to put up with it, but as each successive issue had to rely more and more heavily on substitute artists in greater and greater quantity, you could just see the dissatisfaction creep in — to the point where what seemed to be most-discussed about issue #7 was the art inconsistency. I’m not saying that DC was wrong to do this — I don’t know what kinds of financial pressures they might have been under, or publishing plan pressures they might have been under. But what I can tell for certain is what it did to the reading experience in the end. And having seen that, I choose to try to learn from it.

Secondly, I’m always leery of the legitimacy of the more fulminating members of the retail community has to say in these situations. I’m reminded of a very specific example that I witnessed a number of years ago that I always turn to when confronted on something like this. It was during the initial Marvel Knights run on Daredevil, when Kevin Smith and Joe Quesada were doing the book.

At that time, we had a system in place with Diamond wherein their sales reps would call assorted accounts, and we’d receive summaries every two weeks about their concerns and reactions to all of the Marvel product. At this time, I think it was Daredevil #6 was about six weeks late. And the week before it came out, the retailer feedback we got was, “This book is dying on the vine, my customers aren’t interested any more, Marvel should allow me to cut my orders by 40% without any penalty.” And then, two weeks later, a week after the issue shipped, we got the retailer feedback and it said, “This book flew off the stands, I can’t get any more, Marvel should have known that demand was going to outstrip supply and overprinted by 10% or 20%.” Which is to say, nobody knows anything absolutely.

NRAMA: So then how was this decision arrived upon? A purely internal decision, or did you seek input from outside?

TB: I don’t know whether specific retailer feedback was solicited — that’s more a question for [VP of Sales] David Gabriel, who maintains relations with the retail community. But this was primarily an internal decision, and not one we arrived at lightly. We studied this thing seven ways to Sunday, trying to work out what the ripple effect would be through the other books in the line, and the publishing plan as a whole. And in laying all of this out at one time, we’re trying to be as honest and upfront with the retailers and the fans as we can at this point.

It would have been easy for us to simply say that Civil War #4 was going to be a week late, and then two weeks late again a week later, and so on, but we wanted to give everybody as much ample warning as possible, especially retailers so that they could manage their cash flow.

NRAMA: Tom, we’ve talked to Joe Quesada about this general issue extensively in the past (and we’ll likely talk to him more at the end of this week), but let’s get the perspective of an editor whose day-to-day involves scheduling and keeping the trains running.

As you’ve no doubt seen by the reaction, this issue still greatly frustrates some fans, and many don’t understand how it continues to be a problem the publishers can’t overcome. So from your point-of-view, why can’t lateness be made an issue of the past? Why does it seem impossible for publishers to devise strategies to make sure high-profile projects are kept on schedule?

TB: The demands of the readership have changed as the marketplace has changed over the years. People like to point to the 70s or 80s as eras when you didn’t have these problems, but I think those people are forgetting a couple of things:

1.) Those were eras in which the majority of the comics sold were sold through mainstream markets, the “newsstand” distribution network, to a larger casual readership. The casual reader doesn’t care who’s working on a given title, doesn’t follow the creators — he just wants an exciting comic book story, well-told. In that market, what was on the cover was much more important than who was doing the insides. And those books were distributed on a returnable basis, so if a given issue didn’t connect with readers, it was pulped.

But in the current direct market, we sell on a non-returnable basis three months in advance to a readership that is avidly concerned with who is working on what, and your sales numbers are largely determined weeks if not months before the book even appears on the racks.

And 2.) in the 70s, when a book was running late, you’d get an unannounced reprint under a new cover — and nobody liked that. And in the 80s, when a book was running late, you’d get an irrelevant fill-in issue that often looked like it was produced by the guys in the mail room — and nobody liked that.

Plus, these days you simply have to factor in the eventual trade paperback or hardcover collections, as they’ve become a significant part of the revenue stream. As Bryan Hitch pointed out correctly, nobody today really remembers the four-month wait between Dark Knight Returns #2 and #3 — heck, most of the people reading this likely first read that story as a collected edition. And that’s because the work is strong, and has stood the test of time. It wasn’t compromised simply to meet the monthly schedule, and as a result, DC and the retailers will be able to sell it forever. I think that’s the model for the future.

The whole infrastructure of comic book retailing is changing, and I think what you’re starting to see is the beginning of the movement away from a monthly magazine publishing model over to something more akin to a book publishing model. This is very distressing to a lot of people who’ve grown up with the monthly model as a bedrock concept. But ever since we retreated almost wholly to the Direct Market in terms of the basic comic book product, there’s no compelling reason for the monthly release schedule outside of the need for retailers to have a predictable cash-flow that allows them to keep their doors open.

NRAMA: If nothing else, given history, why isn’t a project like Civil War kept in the can and off the schedule until a time when there is enough lead-time to absorb routine creative delays?

TB: Civil War is a crossover, and a crossover involves coordinating events across the entire line of books. As such, it’s far more timely in terms of the overall publishing plan than an ordinary story. If we decided to try to hold off on Civil War until, say, December, what that means for the rest of the line is that nobody on any of the books can do anything to substantively change the status quo in their individual titles. Talk about working in a straitjacket — not to mention comics that the readership will quickly grow bored with.

Also, waiting until everything is in the can isn’t a cure-all either. I continue to be asked, for example, often by people who are upset by it not being out yet, where Marvels: Eye Of The Camera is. And when I tell them that we’re waiting until we’ve got it all in hand before releasing it (which is easier to do in a case like this because the story isn’t tied to what’s going on in the present day Marvel Universe), all they want to know is what’s taking so long. Comic book readers as a whole aren’t really great with delayed gratification — I’m certainly not, so I can understand the impulse.

NRAMA: You released information about how this affects the schedule of mostly known tie-in books, but fans are also expecting a number of new series to launch out of Civil War that haven’t been solicited yet…

TB: All of those launches will be affected, but since those books haven’t been solicited yet, there isn’t the same kind of problem — we simply won’t solicit them until such a time as the appropriateCivil War material they spin out of is ready to see print.

NRAMA: Okay, but specifically, how - if at all - will this affect the schedule of say the Mighty Avengers, and the debut of a new New Avengers roster in issue #27, which would have been a December release??

TB: It means that in November we constructed the stand-alone Hawkeye/Scarlet Witch story that Brian [bendis] is doing with Alex Maleev that we told people about a few weeks back. And it means that in December and January, there won’t be any issues of New Avengers solicited, although we will have the New Avengers: Illuminati limited series to take up some of the publishing slack. And New Avengers #27 will see print in February, after Civil War #7.

NRAMA: And how about a new Thor launch confirmed by Joe Quesada last week, and a series that may or may not be called Alpha Flight?

TB: All of the stuff that falls into this category — Mighty Avengers, Thor and so forth — will not be solicited until after Civil War wraps up, so February or March. Dan Slott’s Civil War spin-out, for example, looks like it’ll be in March at this point.

NRAMA: Any other examples you can name and how they'll be affected?

TB: It’s an unfortunate casualty, but we’re going to be celebrating the Fantastic Four’s 45th Anniversary a little bit late.

NRAMA: Obviously, in addition to the being upset that the series is being delayed the total number of weeks it is, there is also the underlying fear this is just the first delay. What can you say to readers to instill confidence at this point that the remaining issues will ship monthly after Civil War #5’s November release?

TB: I can tell you that for sure they won’t — which is what that whole list of dates and adjustments was about. We reworked the schedule for the entire back end of the crossover, and all of the affected titles, and gave those new dates to everybody all at once so that they could see how this will domino across everything. And hopefully, we’ve calculated correctly, and everything will go off like clockwork from this point on.

But I’d be lying if I said I could absolutely guarantee that — the writer, for example, has a chronic disease that could quite possibly take him off the board at any time for an undetermined amount of time. Or it might not — but it’s impossible to say for certain.

NRAMA: On a different note, you announced you hoped the addition of some new Civil War-related titles might help makes up for lost sales.

NRAMA: In that spirit, what details [creators, brief descriptions] can you share with readers about…

Civil War: War Crimes?

TB: This is a one-shot that focuses on the criminal element, on the underworld of the Marvel Universe during Civil War. We’ve heard from any number of readers asking how Civil War is affecting some of the major villains in the Marvel Universe, so we’re going to answer some of that here.

The principle character will be the Kingpin who, though still behind bars, continues to have his fingers in all sorts of unlawful pies. And like Lucky Luciano in World War II who was offered leniency on his sentence in exchange for using his influence to help the government police the shores of U-Boat troops who’d do deals with local mobsters in exchange for food and supplies, the Kingpin will be offered the opportunity to either help the Pro-Registration side, or to hinder them.

NRAMA: Captain America: Winter Soldier Special?

TB: Coming directly out of the Winter Soldier’s appearances in Captain America #23 and #24, this’ll follow Bucky Barnes through the landscape of Civil War, in which he’ll encounter old friends and new foes alike. It’ll also put him in position for the next major story arc in Captain America, “Death of the Dream”. Ed Brubaker will be writing this one.

NRAMA: Iron Man/Captain America Special?

TB: This special will chronicle the last face-to-face meeting between Iron Man and Captain America before the climax to Civil War, one last attempt on both their parts to reconcile their points of view and individual actions with one another, and possibly avert a catastrophe. It’ll also serve as a summation of their friendship over the years. Readers have been saying that they don’t quite understand why Tony Stark is doing what he’s doing, and this special (along with Iron Man #13-14) will give them greater insight.

NRAMA: And how does Moon Knight and Blade become involved?

TB: Both Moon Knight and Blade will be having adventures that are reflective of the Civil War landscape without being super-crucial to the core story of Civil War. In both cases, when we were conceiving Civil War, these books were deemed too new to derail by trying to incorporate them into the larger storyline. But now that we have more time, we have the opportunity to involve them like any other tie-in book. So you’ll see what happens when Moon Knight is asked to register, and you’ll see what Blade is doing while the Civil War is raging through the streets.

NRAMA: Finally, again, doing the lemon/lemonade thing. What can you tell readers about Civil War #4 and #5 so they can start talking about the story again, and less about its scheduling?

TB: Can’t tell them a thing more about #5 until #4 comes out, I’m afraid. But #4 still contains a death (with a big ol’ hole blown through somebody’s chest), a funeral, a fateful decision, and a team reborn. It’s also got Thor, obviously, and the lowdown on why he seems to be doing what he seems to be doing at the end of Civil War #3. And the rest of the big throwdown that started in issue #3.

It’s definitely going to have people talking when it finally, finally, finally hits the stands in a few weeks.

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Whatever happened to professionalism? Call me old-fashioned but a monthly book ships monthly. McNiven needs to do some quicker work. Sure, he's ultra detailed but he shouldn't be allowed on a monthly book if he can't keep up. Simple as that.

This extra month means that it'll be two extra months until I get to pick it up at my local comic shop. Work starts with a vengeance in September and what with the new mortgage I won't be hopping on a ferry anytime soon. Weak.

How about getting some headway on a story before you start publishing it? Now it throws off the whole whack of tie-in books? What a colossal cock-up. Hitch coming to defend the whole thing seems like dark humour to me. Has he ever done a monthly book on time? I love me some Ultimates and I'm just happy that, a la Planetary, they aren't fooling themselves by soliciting monthly anymore.

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Whatever happened to professionalism? Call me old-fashioned but a monthly book ships monthly. McNiven needs to do some quicker work. Sure, he's ultra detailed but he shouldn't be allowed on a monthly book if he can't keep up. Simple as that.

This extra month means that it'll be two extra months until I get to pick it up at my local comic shop. Work starts with a vengeance in September and what with the new mortgage I won't be hopping on a ferry anytime soon. Weak.

How about getting some headway on a story before you start publishing it? Now it throws off the whole whack of tie-in books? What a colossal cock-up. Hitch coming to defend the whole thing seems like dark humour to me. Has he ever done a monthly book on time? I love me some Ultimates and I'm just happy that, a la Planetary, they aren't fooling themselves by soliciting monthly anymore.

I totally agree,

Daily Bugle: Civil War Edition

Marvel can DROP DEAD!

Do the book on time w/ quality writing & quality art in the bag or don't solclit the dang series in the first place. I am giving my extra money to DC trying out 3 new titles & trying out indies.

That is it for me w/ Marvel & their event books. If they really good, I will get them in trade form. No news of this screw up at WW Chicago. I will still get my core Marvel titles of She-Hulk, Captain America & Daredevil. This news has started a real Civil War: on time or late late late!!!!

Pissed off Marvel fan,


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What makes it all worse is that this is a book that has the potential to pull in new readers. Comics need new readers. This is a boom period without a lot of boom. The industry needs new readers that will branch off into other books.

If I went into a store to pick up Civil War and it was late, and all of the accompanying crossover titles are also late, then I would probably say "Fuck it" and put the other issues on eBay. Dumb, dumb, dumb move just to get #1 out on time to dethrone Infinite Crisis #7 from the top seller spot.

Way to fuck it all up Brevoort.

As you can see, I'm pissed. A lot of people have a lot invested in this story. Captain America, New Avengers and Daredevil are among the few books I buy from Marvel. Two of them will be affected by this. This is not how you do business. I'm not a fan of fill-in artists coming onto books but only because it makes me dislike the regular artist. McNiven can't handle this book on a monthly basis? I'm never picking up a new book drawn by McNiven. Simple as that. Vote with your dollars.

Maybe I'll take that money over to DC. I hear Dini's doing some great stuff at Detective.

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I hate that stuff got pushed back, but I hate it more when there is a change in the art during the middle of the storyline. Its like if you were watching the lord of the rings movies, but The Two Towers had a different set of actors. The story might not change, but its still jarring. And as a result it suffers. I think that Marvel is playing it smart here. Not thinking about the short game, but thinking about the long game.

I used your Lord of the Rings analogy in an e-mail I wrote to Joe (don't worry, I gave you credit), and he responded by saying, "I may use that analogy somewhere."

His latest Joe Fridays should hit Newsarama later today, so I'd look for it there. (How cool would it be if something that was said on these forums was quoted / paraphrased by JQ on Newsarama?)

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Any news on if people in the UK will be getting the episodes just after the US or may we have to wait longer?

Also I wonder if this will harm the new readers who have been drawn into the series, a longer wait in the middle may put them off sticking with the series. Not that the bosses would rush things out and risk poor picutres, but losing these newly found fans could also be on their minds.

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Any news on if people in the UK will be getting the episodes just after the US or may we have to wait longer?

How long after the US release do you UKers usually get your books?

Usually end of the week me thinks, was just wondering if they may delay comics out of the US to give themselves abit more room to get things ready.

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In Ireland we get them on the thursday after they come out in the states, which I think is a wednesday.

Now for my two cents. I am upset about the comic being delayed, but I can wait for it. I would rather all the art work done by McNiven than some fill in because the fill in artist would ruin it for me. There was a fill artist on the last issue of Uncanny and I hated the art in it and it ruined my enjoyment of the story.

I also liked the Lord of the Rings analogy.

You have to remember as well that McNivien has done the art for Civil War Opening Shot, A double size first issue and issues 2 and 3 and if Millar is to be believed about the short lead in time for the project, that is impressive. Was it Brevoort who said he got the first piece of art in January? Its not like McNivien is being lazy.

There is plenty of other to read in the meantime like Planet Hulk, The X books , Annilation, Squadron Supreme.

The one thing that really bugs me is that they annouced that they where delaying Civil war a day before it came out, they would have known about this at least a week in advance and they should have annocued it then.

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In light of the recent change in the release schedule for Civil War, Marvel Comics has released a revised Civil War Checklist, detailing the expected ship dates for the main series and its various tie-in books.

Additionally, Marvel will provide all Diamond customers with at least one free bundle of 100 postcards of the checklist in their September 13 shipments.

See below for the revised Civil War Checklist, and look for your complimentary physical copies in your September 13 shipment. Retailers with further questions about this announcement should contact their Diamond Customer Service Representative.

































MOON KNIGHT #7 (Casualties of War) – New









MOON KNIGHT #8 (Casualties of War) – New


WINTER SOLDIER: WINTER KILLS (Casualties of War) – New






BLADE #5 (Casualties of War) – New




MOON KNIGHT #10 (Casualties of War) – New






Please Note: Titles marked with “ – New” are new additions to the Civil War tie-in lineup.

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