
This summer will mark both the end as well as the new beginning for another Marvel experiment, namely, what happens when you tell a superhero story under an adults-only imprint?
Supreme Power, a re-telling of Marvel’s Squadron Supreme group of heroes, which, in many ways are analogues of classic icons of comics, launched in August of 2003 under Marvel’s MAX imprint. Written by J. Michael Straczynski, with art by Gary Frank, the series was set in its own “world,” on which
they were the only heroes, and no punches were pulled. Since its start, the series received solidly positive reviews as its heroes moved through stories that contained varying amounts of profanity, nudity, and other elements allowable under Marvel’s MAX imprint.
Come issue #18 though,
Supreme Power will no longer call MAX its home, as the series will move to the Marvel Knights imprint, and relaunch in 2006.
Weighing in on the issue in his inaugural “Joe Fridays” column, Marvel Editor in Chief Joe Quesada discussed the reasons behind the move,
saying:
“It's really simple. First the quality of the book is amazing; JMS and Gary Frank are just knocking this out of the park, but after talking to a couple of retailer pals it all made sense. The concern from those we talked to was that they could sell more copies of
Supreme Power if the rating was toned down. What made the argument most compelling was that looking at
Supreme Power, there is rarely reason why it has the adult label as JMS and Gary only resort to over the top words or imagery from time to time. So in discussing it with the team, we felt very little would be lost by moving the book out of MAX and into Marvel Knights while improving sales and exposing the book to more readers.”
Quesada’s rationale is one often seen in other media, with entertainment being tempered to meet specific ratings for theatrical release, or otherwise adjusted accordingly (think modified versions of CDs at Wal-Mart) with the same goal in mind by the publisher – to reach the largest audience possible through the largest distribution channels available. Comics are no different, as any retailer or publisher can tell you that comic books produced specifically for an adult audience have a glass ceiling – that is, they won’t sell in the same numbers as those produced for an all-ages audience.
Alias writer Brian Bendis experienced the ceiling first hand, and that played a role (along with the story and character’s progression) in the ending of the series under the MAX imprint, and relaunch as
The Pulse under the regular Marvel label in late 2003/early 2004. As Bendis explained, the imprint afforded fewer limitations, but historically, as comics aimed at adults show, the cost for the freedom is reduced sales in the direct market.
“Marketing it was a nightmare,” Bendis
told Newsarama in August of 2003. “Most of the time I was the only MAX title. It was basically marketed to fans of
Powers and that's about who was buying it, which was awesome and I’m grateful. But, I believe the book to also be of interest to the
Daredevil audience and it was impossible to let them know because it was MAX.
“Also, the only MAX thing in the book was the language. It was the least violent book I write and the sex was very few and far between. The freedom to use the f-word isn't enough of a reason to make it MAX, so I won’t miss it…readers of
Daredevil know that I can be adult and gritty without using the f-word. And sex was never the motivation of
Alias, I just wanted to be able to express sex as an adult function if I wanted to.”
The move of the characters from
Alias to
The Pulse allowed Bendis to reach his goals, and title
Alias character Jessica Jones has become a major player in the Marvel Universe, not only via
The Pulse, but also in Bendis’ other MU titles.
By moving to a more audience-friendly imprint under Marvel,
The Pulse did see shelf space in more stores in the US (though sales weren’t…spectacular, as the book is arguably, a tough sell – stories of the Marvel Universe as seen through the eyes of a team of reporters at
The Daily Bugle), as well as other countries, as import restrictions on the content of MAX prevented
Alias (and
Supreme Power) from reaching foreign readers – an important market for Marvel and any other US-based publisher seeking to expand its worldwide readership.
In the case of
Alias, it saw sales move from roughly 29,000 copies on its last MAX issue to around 53,000 copies as
The Pulse #1. Even given its bi-monthly schedule and natural atrophy seen by all new series, the series’ latest issue saw roughly 35,000 copies sold to retailers – numbers
Alias only saw in its earliest days on sale.

It's appropriate to point out before comparisions get out of control that the
Alias situation isn't a direct correlation to
Supreme Power though, as
SP has enjoyed quite healthy sales for a large portion of its run, seeing numbers above many Marvel and DC books aimed at an all-ages audience. But as Quesada pointed out, Marvel feels that
Supreme Power has the potential to reach a wider audience
without the MAX label and its reduced limitations, which atract some, while being seen as something of a stigma to others.
Of course the criticism leveled at Marvel and Bendis then for the move of
Alias is back now, as some see the move as something in the realm of pandering, watering down, or even censoring the artistic vision of the creators on the series. Certainly,
Supreme Power was one of Marvel’s most adult-oriented series in years, but now, under the new imprint, fans are already expressing concern that punches will be pulled, and the book will lose something of its essential character as a result.
We spoke with Straczynski for his view on the move.
First off, a clarification of the series’ immediate future:
“The current run of
Supreme Power will end with issue #18, followed by a
Hyperion mini and a
Nighthawk mini, and then a relaunch with a new #1 under the Marvel Knights banner,” Straczynski told Newsarama. “Insofar as I know, there really aren't any changes planned in format, editors and certainly not in artist. I've said it elsewhere; I can't see anyone else doing this book but Gary.”
The decision to move imprints, the writer explained, has its roots in, well, very practical matters. “What you have to understand first is that I'm very easily distracted. So after the launch of
Supreme Power, I got pulled into keeping up with the book, with other projects, and didn't keep an eye on the marketing of the book...until one day I looked up from the deadlines that had momentarily receded and realized that there really hadn't been any PR for the book since its launch. And sales were sliding. That's the irony of the book...it almost never gets a bad review, if anything the reviews are almost consistently glowing, it's considered to be one of Marvel's best books...but it was almost a stealth book. If you didn't know it was there, you wouldn't know it was there, if that makes any sense.

“The problem -- and here I'm speaking just my opinion, which should be taken with a few metric tons of salt -- is that I don't know if Marvel has ever really been comfortable with the MAX line, or known quite what to do with it. I think they've always soft-pedaled marketing the MAX books because of the content. Not the editors, or Joe Q, or any of those guys...just the business side of things. My feeling is that either you do something and go balls to the wall...or you shouldn't do it.
“I expressed my concerns to Joe and Axel, who as usual were very open to my questions and my concerns. They jumped right in with the marketing guys, looking for ways to promote the book, they couldn't have been better. But at the end of the day, it's still a MAX book, and that puts a glass ceiling above it, no matter what stunting might be done.”
Straczynski said that the realization of MAX’s marketplace limitations made an impact on both him and Frank. Despite seeing sales of over 100,000 copies on its first issue (combined numbers on the regular and enhanced editions), and being the best selling comic aimed at an adult audience released by a major publisher in the last 20 years, and most likely, the history of the medium,
Supreme Power, like virtually every title was seeing its numbers atrophy.
“Both Gary and I believe fervently in this book, and the characters, and in Joe and the rest of the Marvel crew. But the ceiling is still there. When you're a writer, or an artist, you want your work to reach the most people possible. That's why you
tell stories, to reach people, and the more the merrier.
“So I pulled out the last several issues of the book, and the one thing that came through for me was that the story rarely if ever turned on the issues of language or nudity. Occasional intense violence, yes, but not the rest. It added a level of reality, to be sure, but there are all kinds of ways of creating that sensibility, which I've learned through writing for television. You can have shows as intense as
The Shield without going for
The Sopranos. I don't think anybody would call
The Shield a soft show.
“I asked the by-now somewhat rhetorical question - could this book function with those elements rendered in different ways? Still as intense, but with alternate delivery mechanisms? And the answer was yes, especially in light of the fact that the 3-4 issues leading up to issue #18 had virtually none of those elements in the first place. You could take nearly all of our issues, with some exceptions, pop out a few words, pose a character a bit less obviously...and they'd work for the Marvel Knights line very easily.
“So I wrote Joe and made the suggestion. He wanted to be sure I was comfortable about this, and I indicated I was. We then agreed to do the re-launch, which will put the book out into stores that never carried it before, into hands that could not have bought it before, and give the book the chance in the marketplace that, I feel, rather subjectively, it's earned.”

Expanding on his reasons for the move, Straczynski explained that current readers of
Supreme Power won’t notice too many changes. What
will change is the overall direction of the story, which is a natural evolution of where things have been heading in the series.
“Some things aren't going to change at all...most things, really. The characters aren't going to change, the tone of the book isn't going to change...basically, go back to any issue of
Supreme Power, take a felt tip pen, and cross out the few profanities in the book and the naughty bits...and that's the relaunch, at least in terms of the then/now aspect.
“In terms of general story stuff...the first 18 issues were about establishing the world and setting the stage for the team itself to finally come together. So with issue one of the relaunch, that team is now in place and that also makes sense for the relaunch because now it's to some degree a team book. I say ‘to some degree’ because Mark Milton/Hyperion will always be the central, point-of-view character to me, and I will always go out to explore the other characters singly as well as in a group...and because that group will not always function very well.
“The original Squadron Supreme created one context in which some of our characters could choose to try and take over the planet. I want to take that same action, the result, and give it a different cause, to spin it off in another direction that comes directly out of everything that preceded it in issues #1-#18. It's a very different story, but it goes to some of the same places along the way.”
And leading up to that point?
“The last few MAX issues really turn our focus back strongly on Mark, on the changes he is going through as the world learns that he's not from Earth, that he's an outsider,” Straczynski said. “The government that he was brought up to trust has now begun to try and devour him now that he's begun to assert himself. We build up heroes, and we destroy them with equal vigor. Now Mark is going to be on the receiving end of the second half of that equation, and how he responds is going to be very...colorful.”
And finally, between the end and the new start? “The
Hyperion mini follows a group of additional characters sent out to capture and return Hyperion...with mixed results. I've read the first two
Nighthawk scripts, but don't feel I should blow what's in them by saying the wrong thing and giving things away. Suffice to say it's very, very cool.”