Rick Remender Makes His Break From Marvel Official

RickRemender1Speaking on his website Rick Remender who has written Captain America, Uncanny Avengers, Avengers: Rage Of Ultron, Uncanny X-Force, Secret Avengers, Venom, Axis & The Punisher with Marvel has announced that he will be taking a break from the publisher for the next year to focus on his creator owned work and family. More details at the writers website

35 thoughts on “Rick Remender Makes His Break From Marvel Official”

  1. Oh you’re too good for Marvel, eh. Leaving is what’s best for you, eh? You’re contracts are up, eh? Who do you think you are, Rick? Lebron James..

    Cue fake outrage…

    This was obviously a joke… Do what you want Rick, even if it is what’s best for you… take your talents to Image.

    1. First Hickman…

      I bet he makes his way to DC, as well, to start cashing the checks. That prospect really excites me. Remender kinda reminds me of Johns sometimes, so I bet he’d be especially good with JL, GL & FLASH.

      Aaron is next. 😋 given his work on THOR, I’d particularly love to see him on WONDER WOMAN, BATMAN and AQUAMAN.

      1. Also Remender worked at DC and hated it there when it was roughly the same executive team. All these guys would make about as much sense as Brubaker going back to DC. They want to tell there own stories and as of the last five years, DC has been far less open to allowing creators to do that then Marvel anyway. Not to mention, Hickman has said he’s going back to Marvel at some point and none are leaving out of frustration with the company. Plus, DC actually has a lot of great up & coming talent right now like Marvel did when they found Remender, Hickman, Fraction ect there better off letting those creators grow and having the next Remender, Hickman, Fraction, Gillen ect Some of those dudes def have the talent.

        1. & for the record, expect Kieron Gillen, Nathan Edmondson & Ales Kot to be moving on from Marvel as well. I doubt those dudes are going to DC Comics either, it’s been said by Scott Snyder that he makes more $$ off Wytches then Batman so I’d imagine it’s a similar case for those guys Image books as well, especially since they are working on many separate titles with the publisher.

      1. Hickman’s Image stuff will be better.
        I’m not convinced that Remender’s will be. I love BLACK SCIENCE, but I’ve already dropped LOW and I wasn’t impressed with my DEADLY CLASS sample. I like his Superhero work best.

        1. Mayhaps, but all things being equal, you really think his Captain America or Uncanny Avengers was better then those books you dropped? I think the problem with Remender and superhero comics (and really most of the guys that Marvel brought up from Image if you think about it) is that he’s proven that he can make some of the best work on the shelves doing offbrand stuff ala X-Force, Secret Avengers, Punisher ect but when you put him on a flagship title with more restrictions and readers, it’s not as consistent. Don’t get me wrong, I’ve liked a fair amount of what he did on Cap & Uncanny, but it was never as consistent as his earlier Marvel work and I think that’s mostly because the popularity and history of those character’s makes it more difficult to take those type of chances in storytelling that Remender does. Same goes for Gillen when you contrast his work on say Journey Into Mystery/Young Avengers with Iron Man or X-Men, Hickman on Fantastic Four vs Avengers (which ended up being pretty amazing in the end) Fraction on Hawkeye or Iron Fist vs Thor or Fear Itself. When your on a less popular title you have a regular shipping schedule which allows for you to create a creative synergy with one artist, the expectations are lower & you have more room to go different places with it. Considering all those guys came out of creator owned, I’d think that naturally they would do better work for hire in that type of environment. Once you put in double shipping, all the eyeballs on the book that are going to buy the title for character & the natural limitations that come from working on an insanely popular title with decades of continuity to consider, a lot of that goes away. It’s probably also why dudes like Scott Snyder or Jason Aaron seem to do more consistent superhero work, because they came in with those companies. In the end, they are too big to do those off brand books still but their sensibilities make it too difficult to do those type of books consistently.
          And with all that said, I shouldn’t rule out Hickman or Remender doing DC work at some point & think they could do some cool stuff there (Hickman+New Gods=Win!) I just question seeing them go there anytime in the near future due to the recent past and their own sensibilities.
          Finally, unless your not a Sean Murphy dude, I’d look out for that Tokyo Ghost joint from Remender because that looks like it could be a monster.

          1. “Mayhaps, but all things being equal, you really think his Captain America or Uncanny Avengers was better then those books you dropped?”
            And I will be checking out TOKYO GHOST. I like Murphy.

          2. Definitely Hickman and Remender were better with smaller books and less numbers of books. I think you have something there about the big books being a creative dead end.

            1. Hickman was way way way out of the box with avengers though. It seemed to me he could have done with less freedom at the start of that series. Perhaps.

            2. ” I think you have something there about the big books being a creative dead end.” Depending on the creator. It’s not a dead end for say, Aaron or Snyder & looking bigger picture, it hasn’t been a dead end for guys like Morrison, Millar, Johns or Waid. If you came into comics via Marvel/DC or a similar company like 2000 AD, I think it’s a lot easier to navigate your creative impulses within the parameters of the property. By contrast, if you came into comics doing something like Fear Agent, Red Wing, Cassanova or Phonogram, how could doing the big superhero books not feel somewhat restrictive? It’s almost all a matter of aesthetics in that regard. Considering how well indie guys from past generations have fit into superhero books (Gilbert Hernandez, Moebius, Terry Moore ect) I think it’s pretty crazy that those guys were able to climb as high as they have. Granted, they were all picked up before being name brand creators in the industry as they are now, not to mention, the economics of creator owned comics were wildly different when all those guys first started at Marvel.

              The guys I mentioned above are pretty significant to me because they became big creators by doing Marvel books. Looking from a wider view, you have guys like Brian K Vaughan, Ed Brubaker, Mark Millar, Greg Rucka ect that all started out with and did significantly large amounts of work at both Marvel & DC are now working almost exclusively at Image Comics.

              As someone who grew up a Marvel kid, it was super exciting to rediscover those comics as an adult and see all these new guys doing cutting edge work on there. That said, I don’t think any of that was meant to last and I don’t think comics fans ever really appreciated it anyway. The amount of gushing I see over those guys Image books compared to all the Marvel work they did that readers instantly dismissed because it was Marvel has always been pretty jarring to me, so I can’t imagine how it felt for the guys working on the book. That and so many of the people reading the comics were fans of the character, not the creator and we’ve all seen it goes when fucfan boys get something unconventional with their superhero comics. It was super fun & rewarding reading Hickman’s Avengers, Gillen’s Journey Into Mystery, Remenders X-Force, Kot’s Secret Avengers, Edmondson’s Black Widow, Fractions Hawkeye or DeConick’s Captain Marvel, but there was probably no way that any of that could last. Here’s hoping Barbiere, Willamson & King are ready to make that leap like the guys above and will be reading there unconventional takes on the big Marvel books in a few years. Either way, the only constant is change, but man, the last few years were a fun time to be a Marvel fan.

              1. Ya, for Aaron and Snyder and all those others it is not a creative dead end to write on big books (some of these guys probably have more versatility in their writing). It could have to do with writing styles. What I remember from Remender and certainly Hickman is that they always want to go with big epic stories rather than down to earth ones. Some times Big Epic stories don’t work and you have to change gears. I’m not sure they have other gears to go to besides balls to the walls.

                1. “What I remember from Remender and certainly Hickman is that they always want to go with big epic stories rather than down to earth ones. Some times Big Epic stories don’t work and you have to change gears.”
                  I just think they have big ideas and that’s the only way to tell them. Works fine when you control the parameters of the universe but it’s more difficult when you are working within someone else’s fictional rules.

              2. Remember Aaron came into comics with two Vertigo books so he wasn’t on Superheroes out of the gate. He had an Image sort of path as well. I just think he is a more versatile writer than most of the rest of these guys.

                  1. An 8 page back up story on wolverine doesn’t apply to what any of us are talking about and Vertigo is still creator owned work (It bares little resemblance to Superhero DC stuff. The other side and Scalped is totally like Image stuff; it has nothing to do with Batman and Superman.

                    1. That’s true and I didn’t realize it was an 8 page backup story. I think while Vertigo is technically still “creator owned” it’s totally different from Image, different process, pitches, editorial, economics ect. It’s also worth noting that two of Aarons three Vertigo books were work for hire in Hellblazer & one of those war books that DC own’s the rights to. Also worth noting, Snyder is basically the same, he started out doing a back up human torch story before doing American Vampire & Iron Man Noir. Again, I think working in a more corporate company like Vertigo is a different experience and provides a different outlook on creating comics then Image which is a company of less the 20 people regular employees.

                    2. That makes sense. I suppose (for Aaron and Snyder) it’s more like getting eased into the corporate business rather than getting thrown right into it (like Remender and HIckman). Gone are the days when most talent is going to get picked up by the big 2 because there is no other game in town. I think it is pretty much normal now for the best talent to start their careers outside of Marvel and DC. So the future crop of stars are going to have to get used to transitioning from total control (outside of the big 2) to marionette mode (when they take checks from the big 2 and gain exposure).

                      I like Remender and Hickman so much actually that I was hawking there books before most comic fans knew their names. I just think they haven’t kept the HIGH consistency that Aaron has. Snyder for me isn’t on Aaron’s level. I dropped American Vampire when Stephen King left the book and I’m really not that impressed by Batman. Severed is excellent though.

                    3. For me I can’t even think about Wytches writing wise because I’m so distracted by that horrible coloring splash. Did I mention I hate the coloring on that book. I’m still buying it but if it was ongoing I would have dropped it by now.

                    4. It is an ongoing. I actually love the coloring but it is an unconventional stylistic choice that isn’t for everybody

                    5. You were right about Terminator Genesis Pat. During the midnight showing one dude was playing games on his phone, a lady was snoring so loud (for half the movie) that the whole theater kept looking back at her and the couple in front of me started shooting video of her before the movie was even over. It sucked big time. Bad writing, crap acting, just a boring pile of molten metal.

                    6. Calisi was ok, Arnold was ok, Reese was pretty bad though. Nobody was good except maybe for the old cop comic relief character.

                    7. Hence forth, any and all future Terminator films must include Edward Furlong revising his role as John Carter in one way or another. Without that, kill it

  2. Gillen has actually been complaining about his work load recently as well in the back of his Uber comic. I seem to remember similar comments to Remender.

  3. I love Remender. I never really got into any of his Marvel titles. X-Force is the shit, but I didn’t read any of the new titles. His Image work it where it is at for me, so yes please focus on Image more sir. If you could some how go back in time and erase Fear Agent, then write it again right now, I would be very pleased.

    1. XForce was definitely awesome. Captain America and Uncanny Avengers, not so much (probably due to what Pat is saying above).

      1. I thought Cap & Uncanny both had their bright spots but never approached what Remender did on X-Force or Secret Avengers as opposed to say Black Science & Deadly Class which have been on that level since day one

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