October 7, 2025 • 24 mins
The source announces a significant creative shift for the Ben 10 franchise, detailing an official comic book reboot slated for February 2026 from Dynamite Entertainment, overseen by the original creators, Man of Action Entertainment. This move marks a pivot away from television animation to the comics medium, which the creators view as an "unlimited canvas" for expanding the mythos of Ben Tennyson and the Omnitrix. Scheduled near the franchise's 20th anniversary, the reboot aims to reimagine the origin story with modern updates, thoughtful continuity, and deeper character exploration, positioning itself as a prestige relaunch comparable to lines like Marvel’s Ultimate imprint. The episode explains that the creators, originally comic professionals, see this as a chance to reclaim their vision and offer the "most perfect presentation" of the concept, free from the constraints and toy-driven pressures of previous Cartoon Network iterations.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome back to the deep Dive. Today, we're diving headfirst
into a story that, well, it's sent some real shock
waves analytically speaking, through animation, comics, you name it. Yeah, definitely,
the beloved franchise Ben ten is getting this huge official reboot.
But the twist here, it's not just creat a visit.
It's this massive strategic.
Speaker 2 (00:21):
Move that's exactly right. It's not another cartoon series, not
a movie, not just some you know, vague promise from
an exec somewhere. Okay, for anyone listening who like grew
up with Ben Tennyson or followed his adventures, this is
way more than just a new comic book. It really
signals a fundamental shift for what is, let's be honest,
a multi billion dollar IP.
Speaker 1 (00:42):
Right.
Speaker 2 (00:43):
So our mission here in this deep dis is to
really dig into why why now you know, the franchise
is hitting its twentieth anniversary soon, and what do the
original creators actually mean when they talk about the unlimited
kansas of.
Speaker 1 (00:55):
Comics and this bold claim they're making.
Speaker 2 (00:57):
Yeah, I claim that this is quote the best Ben
ten has ever been. We need to figure out what
that really entails.
Speaker 1 (01:03):
Okay, so let's set the stage The key players here
are the original creators, right man of Action Entertainment. That's
Joe Casey, Joe Kelly, Duncan Rouleau, and Steven T.
Speaker 2 (01:16):
Siegel, the original architects.
Speaker 1 (01:18):
They're stepping back in and they're taking it straight to comics,
launching February twenty twenty six through Dinama Entertainment.
Speaker 2 (01:27):
And we absolutely have to start with that promise, that
quote from Joe Casey, because it's it's everything. Really, it's
a heck of a statement, it is. He didn't just say, oh,
it'll be pretty good, he guaranteed it. This is the
best that Ben Ten has ever been. When the guys
who dreamed this up almost twenty years ago come back
and say that, yeah, they're not just planning some license
(01:48):
comic you forget about next month. They're basically saying, we're
redefining this. This is the real deal, the definitive version.
We always wanted to tell Wow, that's a huge flag
planted in the ground. Especially when you look at the
whole history of this franchise. It's complicated, right.
Speaker 1 (02:01):
So to really get why this is such a big
deal strategically, we probably need that historical context. Let's look
back a bit.
Speaker 2 (02:08):
Yeah, the timeline is key.
Speaker 1 (02:09):
The timing of this announcement isn't random, is it? Like
you said, Ben ten is speeding towards its twentieth anniversary
December twenty twenty five, The original show premiered, what was it,
December twenty seven, two thousand and five, exactly.
Speaker 2 (02:21):
That twentieth anniversary is a perfect peg. But let's not
forget how brilliant that original idea was. Simple, high concept
just worked totally.
Speaker 1 (02:30):
Ten year old Ben Tennyson stuck on this super boring
summer road trip right.
Speaker 2 (02:35):
With his you know, kind of nerdy cousin Gwen in
the eccentric grample Max, and then Boom finds this alien
watch Jay on the Tricks. Yeah, that device with the
DNA of all these aliens. Yeah, the first ten transformations,
it was instant wish fulfillment was.
Speaker 1 (02:50):
Well, absolutely ordinary kids, suddenly a superhero but still stuck
dealing with you know, family vacation stuff.
Speaker 2 (02:56):
That mix the simple concept plus the sort of mons
of the weak thing, it just exploded. It was a
genuine phenomenon.
Speaker 1 (03:03):
We sometimes forget how big it was culturally. It wasn't
just popular. It won Emmys and crucially for the network.
It was a commercial juggernaut.
Speaker 2 (03:10):
The merchandise, Oh, the merchandise was insane. The sources all
point to this. Ben ten generated billions, billions with a Bee.
It became a cornerstone ip for a cartoon network for
Warner Bros.
Speaker 1 (03:24):
And the toys were a huge part of that early success.
Speaker 2 (03:27):
Absolutely critical. You have to mention Bandai here. They did
the toys for the original run and the first few sequels,
and their approach was often about like detailed collectible figures.
Speaker 1 (03:39):
Yeah, I remember those.
Speaker 2 (03:40):
They rewarded the fans who stuck around, showed off how
cool the alien designs were, and that success, built on
that classic version allowed the story and the world to
actually grow.
Speaker 1 (03:50):
Which led to that first big risk they took aging
Ben up. That was key to keeping the original audience.
Speaker 2 (03:55):
Experia totally Alien Force that ran twenty eight to twenty ten.
Speaker 1 (03:58):
It was a completely different Yeah, much darker, more serious,
it really was.
Speaker 2 (04:03):
It showed how you could grow a show with its audience.
Ben went from this, you know, kind of cocky kid
to a more responsible teenager dealing with bigger stakes, actual
teen angst. The fact that everyone knew him.
Speaker 1 (04:13):
Yeah, the story's got more serialized.
Speaker 2 (04:14):
Right, focused on his relationships with Gwen and Kevin, exploring
the whole Plumbers mythology, the purpose of the Omnitrix. It
felt like a natural progression, organic growth.
Speaker 1 (04:25):
And they didn't stop there After Alien Force, we got Ultimate.
Speaker 2 (04:28):
Alien We're at ten to twenty twelve.
Speaker 1 (04:30):
And then Omnivorse, which ran until twenty fourteen.
Speaker 2 (04:33):
And that's where the Lord just got incredibly dense, really rich.
They brought in ultimate forms, Ben's galactic reputation, time travel stuff,
tons of new aliens. They really blew out the cosmic
scale Omniverse.
Speaker 1 (04:45):
Especially the hardcore fans loved that one for the deep cuts.
Speaker 2 (04:48):
Right Yeah, Omnivers had this incredibly detailed continuity. It rewarded
you if you've been watching from day one, but that depth,
that complexity, it created this really passionate fan base, but
maybe a more niche one, which.
Speaker 1 (05:01):
Brings us right up to the big reset in twenty sixteen.
That feels like the moment where the business side really
took over.
Speaker 2 (05:07):
That seems to be the consensus. The critique of that
classic continuity, even though it was creatively strong, was maybe
got too complex for new kids tuning in, and more importantly,
maybe too complex for the mass toy market.
Speaker 1 (05:19):
Ah, the toy sales factor again.
Speaker 2 (05:20):
The sources suggests the twenty sixteen reboot was a direct
result of toy sales dipping for those later more complex
series and a push from Warner Bros. To hit a younger,
broader audience. So strategy wipe the slate clean, start.
Speaker 1 (05:35):
Over, and the execution was stark bends back to ten
years old.
Speaker 2 (05:38):
Yep. Totally different art style, way simpler, much more focused
on slapstick humor, kind of bright and bouncy. It was
built for accessibility, aims squarely at younger kids watching Cartoon
Network in the mid twenty tens.
Speaker 1 (05:51):
And did it work commercially.
Speaker 2 (05:53):
Well, Yes and no. It ran for a long time.
One hundred and eighty four episodes ended in twenty twenty, one,
longest run in the franchise. But it really with the
fan base right.
Speaker 1 (06:01):
The older fans weren't happy.
Speaker 2 (06:02):
A lot of them, especially those who grew up with
Ben aging an Alien Force, felt it was well dumbed down.
The lighter tone, the simpler art, It felt like it
lost the depth they loved.
Speaker 1 (06:11):
The big criticism you hear is that it felt like
a toy driven cash grab.
Speaker 2 (06:15):
Like the designs were made simple just to sell more
toys easily. That was the feeling. Simplified designs mean cheaper molds,
higher volume. It felt less about the story more about
the merchandise. And you know, that wasn't unique to Ben Ten.
Other Cartoon network reboots around that time got similar flocking.
Speaker 1 (06:32):
And there was that shift in toy partners too, wasn't
there from Bandi to Playmates toys.
Speaker 2 (06:36):
That's a really key detail. BANDI focus more on collectibles detail.
Playmates is maybe more known for broader play patterns action features.
That shift likely influenced the look and feel of the
twenty sixteen show. Simpler models fit that Playmate's strategy.
Speaker 1 (06:51):
Better, so the toys kind of dictated the show's direction.
Speaker 2 (06:54):
It certainly looks that way. The twenty sixteen approach saw
the corporate problem. Maybe boosted immediate toy sale, but it
definitely damaged the creative standing with a big chunk of
the audience.
Speaker 1 (07:03):
Okay, so the reboot ends in twenty twenty one, and
then nothing major happens for a while. The franchise just
goes quiet, pretty much into limbo.
Speaker 2 (07:11):
We got these vague hints, you know, like that Warner Bros.
Discovery exect Jason DeMarco saying there was some stuff in development,
but nothing concrete, no big series on almost it felt.
Speaker 1 (07:20):
Stalled, stuck between the past and what an uncertain future exactly.
Speaker 2 (07:26):
It felt like WBD wasn't ready or maybe wasn't willing
to drop the huge budget needed for another high quality
animated series, especially after the mixed reaction to the last one.
So this quiet period, this holding pattern.
Speaker 1 (07:39):
Makes this comic announcement even more significant.
Speaker 2 (07:41):
Precisely the twentieth anniversary gives them the perfect excuse and
the pivot to comics. Is this really smart way to
break the deadlock. It's about regaining credibility, building momentum without
risking you know, tens or hundreds of millions on an
untested animated show.
Speaker 1 (07:58):
Right, which leads us square into section two, the actual
strategy behind this comic book move.
Speaker 2 (08:03):
Yeah, this is where it gets really interesting.
Speaker 1 (08:05):
Because this isn't just picking a new format. It's man
of action, going back to their roots, isn't it. These
guys started in comics.
Speaker 2 (08:10):
They absolutely did, Casey Kelly Rulow Siegel. These are comic
book veterans. Before Ben ten was even a pitch, they
were writing huge characters, Superman, Spider Man, X Men titles,
They know sequential art.
Speaker 1 (08:25):
So them taking Ben Ten back to comics'.
Speaker 2 (08:26):
It's poetic in a way, but it's also deeply strategic.
They're using the medium they mastered first to deliver what
they clearly see as the definitive take on their own creation.
Speaker 1 (08:38):
And it's crucial to understand this isn't like the Ben
Ten comics we've seen before from DC or IDW. Those
were tie ins.
Speaker 2 (08:44):
That distinction is vital. A tie in comic exists to
support the TV show. It has to fit the show's continuity,
can't rock the boat too much, can't introduce major new stuff.
It's basically promotional material. But this new project is being
explicitly called an original reboot. Man of Action is taking
the reins. This comic series is intended to be the
(09:06):
main canon going forward. This is where the Ben ten
story starts now and where it's going to be defined.
It's the exact opposite of a throwaway tie in, and.
Speaker 1 (09:14):
Switching to comics unlocks that key thing. Joe Casey keeps
talking about the unlimited canvas freedom from TV constraints.
Speaker 2 (09:21):
Think about it, TV animation, especially now you've got tight budgets,
strict episode lengths, you need character models you can reuse easily.
Let's say in a cartoon they wanted Ben to turn
into some massive alien fight, a giant monster wrecking a city.
Maybe the fight jumps across four different planets with crazy
alien architecture. Needs expensive CGI for a.
Speaker 1 (09:42):
Space battle, that episode would cost a fortune, might blow
the budget for half.
Speaker 2 (09:46):
A season exactly. But in a comic book.
Speaker 1 (09:48):
That's maybe a cool double page spread drawn really.
Speaker 2 (09:51):
Well, precisely sequential art just lifts those huge financial weights
off their shoulders. They can go for a massive scope.
They can do deep psychological dies into what the Omnitrix
does to Ben, explore complex alien politics, all without worrying
if the animation budget can handle it, or if they
can fit it into twenty two minutes between commercials.
Speaker 1 (10:12):
So Casey's saying unlimited Canvas isn't just artistic flair. It's
literally about financial freedom.
Speaker 2 (10:17):
It's a very practical reality of the medium change.
Speaker 1 (10:19):
Yeah, and you mentioned earlier they're positioning this seriously, not
just for kids, but aiming to compete with the big
guns DC and Marvel's main titles.
Speaker 2 (10:28):
That's the level of ambition. Here, they're using a tried
and true comic industry playbook, the prestige relaunch.
Speaker 1 (10:35):
Like Marvel's Ultimate line back in the day, or DC's Absolute.
Speaker 2 (10:39):
Stuff exactly like that. The sources point to those as inspirations.
What that means for you listening is creating a fresh, modern,
high quality starting point for a character people love but
whose history might have gotten a bit tangled.
Speaker 1 (10:54):
Can you break down that Ultimate model a bit more?
Why does that comparison fit Ben Ten so well? Sure?
Speaker 2 (11:00):
So, Marvel launched the Ultimate Universe like early two thousands,
the idea was, okay, Spider Man and the X Men
have decades of complicated backstory. That's intimidating for new readers.
Speaker 1 (11:10):
Right where do you even start?
Speaker 2 (11:11):
Exactly? So Ultimate started them over modern designs, modern sensibilities,
but crucially telling one continuous, high quality story from issue
hashtag one. It rewarded readers who followed along, but you
didn't need a PhD in Marvel history to get it.
Speaker 1 (11:24):
And Ben Ten has a similar issue now.
Speaker 2 (11:26):
Kind of Yeah, you've got the legacy sands who loved
the deep, complex lore of omniverse, but then you had
the much simpler twenty sixteen reboot aiming for little kids. Yeah,
there's a disconnect. This prestige comic model tries to bridge that.
It aims to be the most perfect presentation, the definitive
take on the core idea that respects the past but
offers a clean, accessible entry.
Speaker 1 (11:48):
Point and financially this whole Dynamite Entertainment partnership. That seems
like a smart move for Warner Bros. Discovery too right
announce it SDCC twenty twenty four.
Speaker 2 (11:56):
Oh absolutely shrewd Dynamites a respected publisher known for handling
licensed properties. Well, but they're not Marvel or DC going
with them. Let's WBT test the twentyth anniversary waters with
relatively low risk but high potential credibility.
Speaker 1 (12:10):
Less financial outlay than a big animated series.
Speaker 2 (12:12):
Way less. Think about the costs. Green Lighting a new
high quality cartoon requires maybe fifty million dollars, potentially more
voice actors, animation studios, global marketing. It adds up fast
producing a top tier comics series, even paying a list
talent like Case and presumably Robert Carrey. Well, it's still
a fraction of that cost, A tiny fraction.
Speaker 1 (12:33):
Sounds good for WBD, But hang on, let me play
devil's advocate. If the goal is to pump Life back
into a billion dollar IP, isn't sticking it just in
comics kind of limiting. Comics don't have the reach of
cartoon network.
Speaker 2 (12:47):
Right. That's a fair point, a really fair challenge. But
the strategy here isn't about immediate mass reach. It's about
rebuilding mass credibility first, Okay, explain that they're tapping into
that huge well of fan nostalgia. They're using the original
creators to guarantee quality, they're proving the concept still works,
that there's hunger for a more serious take, and they're
(13:09):
doing it without the massive financial gamble of a show
that might flop.
Speaker 1 (13:12):
So the comic is like proof of concept exactly.
Speaker 2 (13:15):
If this comic run is a hic, critical praise, sell out,
issues tons of online buzz, it basically hands WBD a
pre tested, validated concept with a proven, engaged audience. It
makes the argument for that eventual big budget animation or
live action project much much easier to sell internally.
Speaker 1 (13:32):
It de risks the bigger investment down the line.
Speaker 2 (13:34):
Precisely, it's a smart, step by step way to bring
the IP back strong less of a giant leap more
of a calculated climb.
Speaker 1 (13:41):
So it's both a creative homecoming and a calculated corporate strategy.
Speaker 2 (13:46):
Okay, that makes sense. Let's shift then to section three.
What can we actually expect from this new comic? The mythology,
the creative.
Speaker 1 (13:54):
Vision, right the actual content? We know?
Speaker 2 (13:56):
Issue one is coming February twenty twenty six. Written by
Joe Case, art by Robert Kerry.
Speaker 1 (14:01):
And Carrie's a fantastic choice his work on stuff like
Outsider's James Bond. It signals a certain esthetic.
Speaker 2 (14:07):
Right away, well kind of aesthetics.
Speaker 1 (14:09):
It's got grit, it's kinetic, it's sophisticated. It's definitely not
the look of the twenty sixteen cartoon. It suggests a
more mature, visually dynamic take, something that treats the action
and the stakes seriously.
Speaker 2 (14:20):
And as the story itself starts with the Origin, Ben
finding the Watch but updated.
Speaker 1 (14:26):
Yeah, they're relaunching the Origin, but the promise is modern
updates and that deeper texture comics allow. So yes, expect
the core elements, the Omnitrix Discovery, the Summer Trip, Gwen Max,
maybe Viilgak showing up earlier classics.
Speaker 2 (14:39):
But the potential here is that they won't just rehash
the old beats. They can use that familiar origin to
ask bigger questions right from the start. What's it really
like for a ten year old to get this insane
power in today's world? How does it mess with his head?
What are the immediate global implications when aliens are suddenly
proven real?
Speaker 1 (14:58):
And moving away from that basodic monster of the week
structure that TV often demands, ord.
Speaker 2 (15:04):
Is what comics do best. Thoughtful continuity. That's the term they're.
Speaker 1 (15:07):
Using, meaning things stick, actions have consequences.
Speaker 2 (15:11):
Exactly, and a lot of the old show Ben could
cause chaos, save the day, and next week it's basically reset.
Thoughtful continuity means if Ben messes up big time in
issue hashtag one, that mistake ripples through the story, it
has lasting impact. In issue hashtag five, issue hashtag ten,
it will reward you for reading month to month and
lets characters genuinely grow and change.
Speaker 1 (15:32):
And that growth includes Gwen and Grandpa Max too. They're
not just background.
Speaker 2 (15:36):
The plan seems to be keeping that core family adventure feel,
but definitely deepening their roles. Gwen's magic potential, which Alien
Force explored. Maybe that's part of the story from day.
Speaker 1 (15:45):
One now right, not just added later.
Speaker 2 (15:47):
And Grandpa Macx's history is a plumber that intercalactic police force.
Weeding that into the origin gives the omdatrix discovery immediate
cosmic weight. It's not just a random accident Ben stumbles upon.
Maybe it was always meant to intersect with Max's past.
They can tackle modern themes through these characters, too, identity, responsibility,
the ethics of power.
Speaker 1 (16:07):
Okay, let's talk aliens. The transformations are the hook right,
heat Blast, Forearms, Accelri. How do they refresh those icons?
Speaker 2 (16:15):
Well, visually expect Robert Carey's style to make them look
probably sharper, maybe a bit more imposing. But the real
potential is expanding the lore.
Speaker 1 (16:25):
What do you mean?
Speaker 2 (16:25):
Animation can show you the alien fighting comics can take
you to the alien's home world. They can spend pages
exploring the culture of heat Blast species Pyrronites, or the
political situation on Forearms planet, or the biology behind accelerates speed.
Speaker 1 (16:39):
Stuff the cartoon could only hint at because of time
or budget.
Speaker 2 (16:42):
Exactly why were these ten aliens the first one's Ben got.
The comics can actually delve into the Omnetrix's selection process.
The species histories. It turns the transformations from just cool
power ups into actual world building opportunities, makes the universe
feel bigger.
Speaker 1 (17:00):
That sounds like something longtime fans would absolutely eat up.
Speaker 2 (17:03):
Oh for sure. It adds layers that just weren't possible before.
Speaker 1 (17:07):
And this focus on depth, on moving forward. It connects
to Man of Action's whole philosophy here. But they're not
looking backward.
Speaker 2 (17:14):
That's their mantra for this innovative storytelling. They're being very
clear this is not a direct sequel to Alien Force
or Omniverse. They know that continuity got complex, maybe even
painted itself into some.
Speaker 1 (17:25):
Corners, so clean slate is easier.
Speaker 2 (17:27):
They seem to think. So they want a definitive, accessible
starting point. They're basically saying, look, we explored aging, bent up,
we did the complex sequels. Now we want to perfect
the original concept with the freedom and depth comics allow,
without being tied down by everything that came after two
thousand and eight.
Speaker 1 (17:43):
Which you can imagine has sparked some debate online among
the hardcore fans.
Speaker 2 (17:47):
Oh yeah, it's definitely a hot topic. You need to
acknowledge that tension. On one hand, you have tons of
fans officially millennials who grew up with the original, who
are absolutely thrilled seeing the original creators back promising quality
after maybe being let down by the twenty sixteen reboot.
It feels like validation.
Speaker 1 (18:07):
But on the other hand, you have that.
Speaker 2 (18:08):
Dedicated group who love the deep lore of Ultimate Alien
and especially Omniverse. They invested years in Ben growing up
Kevin's redemption arc, the huge cosmic threats for them, Wiping
the slate clean feels like throwing away all that character development,
all that world building they cared about.
Speaker 1 (18:25):
It's the classic reboot problem, isn't it fresh start versus
honoring established continuity?
Speaker 2 (18:30):
It really is, and man of Action with wbd's blessing
obviously has chosen the fresh start, betting that a perfectly executed,
high quality origin will ultimately win over more people than
trying to continue a complex, potentially alienating older storyline.
Speaker 1 (18:45):
So overall reception is positive despite that specific fan debate.
Speaker 2 (18:49):
Generally, yes, hugely positive, because it signals that the core
ideas of Ben ten, heroism, family discovery are being taken
seriously again with the kind of depth fans have wanted.
Speaker 1 (19:01):
And there's another layer here too, the business side. Again,
the hope that comics offer independence from let's call it
network interference.
Speaker 2 (19:10):
That's a huge potential upside. One of the recurring criticisms
over the years for various ben ten iterations was that
network notes or toy company demands sometimes seem to override
creative choices.
Speaker 1 (19:22):
Like we need this alien to show up more because
the toy isn't selling exactly.
Speaker 2 (19:26):
That kind of pressure. If Manufaction truly has creative control
over this comics direction, they can theoretically shield the story
from those commercial demands. The narrative drives the ship, not
the quarterly tour report. That independence is a big draw
for creators and potentially a big win for the story's quality.
Speaker 1 (19:43):
Okay, so that brings us to the final section, section four.
What does this all mean for the future, the bigger picture?
Speaker 2 (19:49):
Right? The implications?
Speaker 1 (19:50):
Well, first off, the franchise's history shows it's incredibly adaptable.
It survived different tones, different target audiences. This comic feels
like the latest evolution, proving the core idea works anywhere.
Speaker 2 (20:03):
Absolutely. That core concept kid gets Alien Watch becomes Hero
is just solid gold. It's like Spider Man. The idea
is so strong it can sustain itself. Across comics, movies, games, cartoons.
This comic Run seems designed to be that central pillar,
that narrative foundation for whatever comes next, building out the
whole IP ecosystem.
Speaker 1 (20:22):
Let's clarify that ecosystem again. Ownership versus creation key distinction.
Speaker 2 (20:27):
Warner Bros. Discovery owns the IP, ben Ten, the Omnitrix,
the character is the name, that's their asset. But Man
of Action are the creators and for this project, they
seem to have significant creative control.
Speaker 1 (20:38):
So WBD owns the house, but Man of Action gets
to decorate it. Basically, that's a decent analogy.
Speaker 2 (20:44):
WBD benefits if Man of Action makes the IP more
valuable through successful comic. It's a partnership where WBD trusts
the original creators to revitalize their asset.
Speaker 1 (20:52):
And if the comic is a smash it, WBD is
definitely watching closely thinking about bigger things.
Speaker 2 (20:58):
You bet they are successful. Acclaimed comic Run is the
perfect springboard. Suddenly new action figures based on Robert Carey's
designs look very attractive. Maybe Playmates comes back, or maybe
a higher end company like McFarlane steps in for collectors.
Video games definitely imagine a game that actually uses the
(21:19):
deeper alien lore the comic establishes, and the big one,
of course, is animation.
Speaker 1 (21:24):
Yeah, you mentioned Duncan Roulleau hinting at exploring Ben in
new ways, maybe something more mature exactly.
Speaker 2 (21:30):
He's talked about exploring the complexity of being a child
hero with immense power facing serious threats, maybe without just
fast forwarding him to college age like Alien Force did.
A hit comic proves there's an audience for that more
sophisticated take, So the.
Speaker 1 (21:43):
Comic could directly lead to, say, a new animated series
aimed at older teens or young adults, something like Invincible
or Young Justice.
Speaker 2 (21:51):
That seems like the dream scenario for many fans and
likely part of the long term strategy of the comic. Succeeds,
it provides the narrative blueprint and confirms the audience demand
for WBD.
Speaker 1 (22:01):
It's not all smooth sailing. There are big challenges here.
Speaker 2 (22:04):
Right, huge challenges. That balancing act we talked about, it's massive.
How do you make a comic that satisfies adult readers
looking for depth and sophistication, maybe comparing it to the
best of Marvel.
Speaker 1 (22:17):
And DC, while also appealing to younger readers, maybe kids
who only know the lighter twenty sixteen reboot.
Speaker 2 (22:23):
It's trying to hit two very different targets simultaneously. That's
incredibly difficult to pull off consistently.
Speaker 1 (22:28):
And then there's just the general noise out there reboot fatigue.
Everyone feels like every franchise is constantly getting rebooted.
Speaker 2 (22:35):
That's the environment they're launching into. This Ben ten reboot
needs to feel essential, special, not just another reboot number
five or whatever. It has to deliver on that best
ever promise to cut through.
Speaker 1 (22:47):
So the pressure is really on Man of Action's creative execution.
Speaker 2 (22:51):
Immense pressure. They're betting that their genuine passion, their original vision,
and the freedom of the comic format will be enough
to make this standout. It's a long game strategy, playing
out one issue at a time.
Speaker 1 (23:01):
Okay, let's try and wrap this up then summing up
this deep dive, Basically, Ben Tennyson, the kid with the
alien Watch, is coming home to his original creators yep,
and they're ditching the limits of TV animation for the
quote unlimited canvas of comics, a full circle move perfectly
timed for that twentieth anniversary and the core takeaway.
Speaker 2 (23:22):
The nugget for you listening should be that this is
a really smart play by everyone involved. WBD and Man
of Action are using comics to try and craft the
definitive Ben Ten, like an ultimate Ben Ten or an
absolute Ben.
Speaker 1 (23:35):
Ten Prestige version exactly.
Speaker 2 (23:37):
A continuous, high quality story that maybe the TV shows,
with all their pressures, could never fully deliver. This isn't
just about selling toys this time. It feels like an
attempt to establish the lasting story of Ben.
Speaker 1 (23:49):
Tennyson sets a high bar for the next twenty years
for sure. Okay, before we go, let me leave you
with that provocative thought, something to chew on until we
actually see issue hashtag one in February twenty six. We've
seen the Ben Ten franchise make huge turns based on
things like toy sales figures and network demographics, right, cold
hard business decisions. So now Man of Action supposedly has
(24:12):
total creative control over this comic story. The question is
can they really create a long term narrative that ignores
those commercial pressures completely or is the need for mass
market appeal just too baked into a massive ip like
this to ever fully escape Even in comics, can the
story finally lead the business, or will the business always
find a way to influence the story
Welcome back to the deep Dive. Today, we're diving headfirst
into a story that, well, it's sent some real shock
waves analytically speaking, through animation, comics, you name it. Yeah, definitely,
the beloved franchise Ben ten is getting this huge official reboot.
But the twist here, it's not just creat a visit.
It's this massive strategic.
Speaker 2 (00:21):
Move that's exactly right. It's not another cartoon series, not
a movie, not just some you know, vague promise from
an exec somewhere. Okay, for anyone listening who like grew
up with Ben Tennyson or followed his adventures, this is
way more than just a new comic book. It really
signals a fundamental shift for what is, let's be honest,
a multi billion dollar IP.
Speaker 1 (00:42):
Right.
Speaker 2 (00:43):
So our mission here in this deep dis is to
really dig into why why now you know, the franchise
is hitting its twentieth anniversary soon, and what do the
original creators actually mean when they talk about the unlimited
kansas of.
Speaker 1 (00:55):
Comics and this bold claim they're making.
Speaker 2 (00:57):
Yeah, I claim that this is quote the best Ben
ten has ever been. We need to figure out what
that really entails.
Speaker 1 (01:03):
Okay, so let's set the stage The key players here
are the original creators, right man of Action Entertainment. That's
Joe Casey, Joe Kelly, Duncan Rouleau, and Steven T.
Speaker 2 (01:16):
Siegel, the original architects.
Speaker 1 (01:18):
They're stepping back in and they're taking it straight to comics,
launching February twenty twenty six through Dinama Entertainment.
Speaker 2 (01:27):
And we absolutely have to start with that promise, that
quote from Joe Casey, because it's it's everything. Really, it's
a heck of a statement, it is. He didn't just say, oh,
it'll be pretty good, he guaranteed it. This is the
best that Ben Ten has ever been. When the guys
who dreamed this up almost twenty years ago come back
and say that, yeah, they're not just planning some license
(01:48):
comic you forget about next month. They're basically saying, we're
redefining this. This is the real deal, the definitive version.
We always wanted to tell Wow, that's a huge flag
planted in the ground. Especially when you look at the
whole history of this franchise. It's complicated, right.
Speaker 1 (02:01):
So to really get why this is such a big
deal strategically, we probably need that historical context. Let's look
back a bit.
Speaker 2 (02:08):
Yeah, the timeline is key.
Speaker 1 (02:09):
The timing of this announcement isn't random, is it? Like
you said, Ben ten is speeding towards its twentieth anniversary
December twenty twenty five, The original show premiered, what was it,
December twenty seven, two thousand and five, exactly.
Speaker 2 (02:21):
That twentieth anniversary is a perfect peg. But let's not
forget how brilliant that original idea was. Simple, high concept
just worked totally.
Speaker 1 (02:30):
Ten year old Ben Tennyson stuck on this super boring
summer road trip right.
Speaker 2 (02:35):
With his you know, kind of nerdy cousin Gwen in
the eccentric grample Max, and then Boom finds this alien
watch Jay on the Tricks. Yeah, that device with the
DNA of all these aliens. Yeah, the first ten transformations,
it was instant wish fulfillment was.
Speaker 1 (02:50):
Well, absolutely ordinary kids, suddenly a superhero but still stuck
dealing with you know, family vacation stuff.
Speaker 2 (02:56):
That mix the simple concept plus the sort of mons
of the weak thing, it just exploded. It was a
genuine phenomenon.
Speaker 1 (03:03):
We sometimes forget how big it was culturally. It wasn't
just popular. It won Emmys and crucially for the network.
It was a commercial juggernaut.
Speaker 2 (03:10):
The merchandise, Oh, the merchandise was insane. The sources all
point to this. Ben ten generated billions, billions with a Bee.
It became a cornerstone ip for a cartoon network for
Warner Bros.
Speaker 1 (03:24):
And the toys were a huge part of that early success.
Speaker 2 (03:27):
Absolutely critical. You have to mention Bandai here. They did
the toys for the original run and the first few sequels,
and their approach was often about like detailed collectible figures.
Speaker 1 (03:39):
Yeah, I remember those.
Speaker 2 (03:40):
They rewarded the fans who stuck around, showed off how
cool the alien designs were, and that success, built on
that classic version allowed the story and the world to
actually grow.
Speaker 1 (03:50):
Which led to that first big risk they took aging
Ben up. That was key to keeping the original audience.
Speaker 2 (03:55):
Experia totally Alien Force that ran twenty eight to twenty ten.
Speaker 1 (03:58):
It was a completely different Yeah, much darker, more serious,
it really was.
Speaker 2 (04:03):
It showed how you could grow a show with its audience.
Ben went from this, you know, kind of cocky kid
to a more responsible teenager dealing with bigger stakes, actual
teen angst. The fact that everyone knew him.
Speaker 1 (04:13):
Yeah, the story's got more serialized.
Speaker 2 (04:14):
Right, focused on his relationships with Gwen and Kevin, exploring
the whole Plumbers mythology, the purpose of the Omnitrix. It
felt like a natural progression, organic growth.
Speaker 1 (04:25):
And they didn't stop there After Alien Force, we got Ultimate.
Speaker 2 (04:28):
Alien We're at ten to twenty twelve.
Speaker 1 (04:30):
And then Omnivorse, which ran until twenty fourteen.
Speaker 2 (04:33):
And that's where the Lord just got incredibly dense, really rich.
They brought in ultimate forms, Ben's galactic reputation, time travel stuff,
tons of new aliens. They really blew out the cosmic
scale Omniverse.
Speaker 1 (04:45):
Especially the hardcore fans loved that one for the deep cuts.
Speaker 2 (04:48):
Right Yeah, Omnivers had this incredibly detailed continuity. It rewarded
you if you've been watching from day one, but that depth,
that complexity, it created this really passionate fan base, but
maybe a more niche one, which.
Speaker 1 (05:01):
Brings us right up to the big reset in twenty sixteen.
That feels like the moment where the business side really
took over.
Speaker 2 (05:07):
That seems to be the consensus. The critique of that
classic continuity, even though it was creatively strong, was maybe
got too complex for new kids tuning in, and more importantly,
maybe too complex for the mass toy market.
Speaker 1 (05:19):
Ah, the toy sales factor again.
Speaker 2 (05:20):
The sources suggests the twenty sixteen reboot was a direct
result of toy sales dipping for those later more complex
series and a push from Warner Bros. To hit a younger,
broader audience. So strategy wipe the slate clean, start.
Speaker 1 (05:35):
Over, and the execution was stark bends back to ten
years old.
Speaker 2 (05:38):
Yep. Totally different art style, way simpler, much more focused
on slapstick humor, kind of bright and bouncy. It was
built for accessibility, aims squarely at younger kids watching Cartoon
Network in the mid twenty tens.
Speaker 1 (05:51):
And did it work commercially.
Speaker 2 (05:53):
Well, Yes and no. It ran for a long time.
One hundred and eighty four episodes ended in twenty twenty, one,
longest run in the franchise. But it really with the
fan base right.
Speaker 1 (06:01):
The older fans weren't happy.
Speaker 2 (06:02):
A lot of them, especially those who grew up with
Ben aging an Alien Force, felt it was well dumbed down.
The lighter tone, the simpler art, It felt like it
lost the depth they loved.
Speaker 1 (06:11):
The big criticism you hear is that it felt like
a toy driven cash grab.
Speaker 2 (06:15):
Like the designs were made simple just to sell more
toys easily. That was the feeling. Simplified designs mean cheaper molds,
higher volume. It felt less about the story more about
the merchandise. And you know, that wasn't unique to Ben Ten.
Other Cartoon network reboots around that time got similar flocking.
Speaker 1 (06:32):
And there was that shift in toy partners too, wasn't
there from Bandi to Playmates toys.
Speaker 2 (06:36):
That's a really key detail. BANDI focus more on collectibles detail.
Playmates is maybe more known for broader play patterns action features.
That shift likely influenced the look and feel of the
twenty sixteen show. Simpler models fit that Playmate's strategy.
Speaker 1 (06:51):
Better, so the toys kind of dictated the show's direction.
Speaker 2 (06:54):
It certainly looks that way. The twenty sixteen approach saw
the corporate problem. Maybe boosted immediate toy sale, but it
definitely damaged the creative standing with a big chunk of
the audience.
Speaker 1 (07:03):
Okay, so the reboot ends in twenty twenty one, and
then nothing major happens for a while. The franchise just
goes quiet, pretty much into limbo.
Speaker 2 (07:11):
We got these vague hints, you know, like that Warner Bros.
Discovery exect Jason DeMarco saying there was some stuff in development,
but nothing concrete, no big series on almost it felt.
Speaker 1 (07:20):
Stalled, stuck between the past and what an uncertain future exactly.
Speaker 2 (07:26):
It felt like WBD wasn't ready or maybe wasn't willing
to drop the huge budget needed for another high quality
animated series, especially after the mixed reaction to the last one.
So this quiet period, this holding pattern.
Speaker 1 (07:39):
Makes this comic announcement even more significant.
Speaker 2 (07:41):
Precisely the twentieth anniversary gives them the perfect excuse and
the pivot to comics. Is this really smart way to
break the deadlock. It's about regaining credibility, building momentum without
risking you know, tens or hundreds of millions on an
untested animated show.
Speaker 1 (07:58):
Right, which leads us square into section two, the actual
strategy behind this comic book move.
Speaker 2 (08:03):
Yeah, this is where it gets really interesting.
Speaker 1 (08:05):
Because this isn't just picking a new format. It's man
of action, going back to their roots, isn't it. These
guys started in comics.
Speaker 2 (08:10):
They absolutely did, Casey Kelly Rulow Siegel. These are comic
book veterans. Before Ben ten was even a pitch, they
were writing huge characters, Superman, Spider Man, X Men titles,
They know sequential art.
Speaker 1 (08:25):
So them taking Ben Ten back to comics'.
Speaker 2 (08:26):
It's poetic in a way, but it's also deeply strategic.
They're using the medium they mastered first to deliver what
they clearly see as the definitive take on their own creation.
Speaker 1 (08:38):
And it's crucial to understand this isn't like the Ben
Ten comics we've seen before from DC or IDW. Those
were tie ins.
Speaker 2 (08:44):
That distinction is vital. A tie in comic exists to
support the TV show. It has to fit the show's continuity,
can't rock the boat too much, can't introduce major new stuff.
It's basically promotional material. But this new project is being
explicitly called an original reboot. Man of Action is taking
the reins. This comic series is intended to be the
(09:06):
main canon going forward. This is where the Ben ten
story starts now and where it's going to be defined.
It's the exact opposite of a throwaway tie in, and.
Speaker 1 (09:14):
Switching to comics unlocks that key thing. Joe Casey keeps
talking about the unlimited canvas freedom from TV constraints.
Speaker 2 (09:21):
Think about it, TV animation, especially now you've got tight budgets,
strict episode lengths, you need character models you can reuse easily.
Let's say in a cartoon they wanted Ben to turn
into some massive alien fight, a giant monster wrecking a city.
Maybe the fight jumps across four different planets with crazy
alien architecture. Needs expensive CGI for a.
Speaker 1 (09:42):
Space battle, that episode would cost a fortune, might blow
the budget for half.
Speaker 2 (09:46):
A season exactly. But in a comic book.
Speaker 1 (09:48):
That's maybe a cool double page spread drawn really.
Speaker 2 (09:51):
Well, precisely sequential art just lifts those huge financial weights
off their shoulders. They can go for a massive scope.
They can do deep psychological dies into what the Omnitrix
does to Ben, explore complex alien politics, all without worrying
if the animation budget can handle it, or if they
can fit it into twenty two minutes between commercials.
Speaker 1 (10:12):
So Casey's saying unlimited Canvas isn't just artistic flair. It's
literally about financial freedom.
Speaker 2 (10:17):
It's a very practical reality of the medium change.
Speaker 1 (10:19):
Yeah, and you mentioned earlier they're positioning this seriously, not
just for kids, but aiming to compete with the big
guns DC and Marvel's main titles.
Speaker 2 (10:28):
That's the level of ambition. Here, they're using a tried
and true comic industry playbook, the prestige relaunch.
Speaker 1 (10:35):
Like Marvel's Ultimate line back in the day, or DC's Absolute.
Speaker 2 (10:39):
Stuff exactly like that. The sources point to those as inspirations.
What that means for you listening is creating a fresh, modern,
high quality starting point for a character people love but
whose history might have gotten a bit tangled.
Speaker 1 (10:54):
Can you break down that Ultimate model a bit more?
Why does that comparison fit Ben Ten so well? Sure?
Speaker 2 (11:00):
So, Marvel launched the Ultimate Universe like early two thousands,
the idea was, okay, Spider Man and the X Men
have decades of complicated backstory. That's intimidating for new readers.
Speaker 1 (11:10):
Right where do you even start?
Speaker 2 (11:11):
Exactly? So Ultimate started them over modern designs, modern sensibilities,
but crucially telling one continuous, high quality story from issue
hashtag one. It rewarded readers who followed along, but you
didn't need a PhD in Marvel history to get it.
Speaker 1 (11:24):
And Ben Ten has a similar issue now.
Speaker 2 (11:26):
Kind of Yeah, you've got the legacy sands who loved
the deep, complex lore of omniverse, but then you had
the much simpler twenty sixteen reboot aiming for little kids. Yeah,
there's a disconnect. This prestige comic model tries to bridge that.
It aims to be the most perfect presentation, the definitive
take on the core idea that respects the past but
offers a clean, accessible entry.
Speaker 1 (11:48):
Point and financially this whole Dynamite Entertainment partnership. That seems
like a smart move for Warner Bros. Discovery too right
announce it SDCC twenty twenty four.
Speaker 2 (11:56):
Oh absolutely shrewd Dynamites a respected publisher known for handling
licensed properties. Well, but they're not Marvel or DC going
with them. Let's WBT test the twentyth anniversary waters with
relatively low risk but high potential credibility.
Speaker 1 (12:10):
Less financial outlay than a big animated series.
Speaker 2 (12:12):
Way less. Think about the costs. Green Lighting a new
high quality cartoon requires maybe fifty million dollars, potentially more
voice actors, animation studios, global marketing. It adds up fast
producing a top tier comics series, even paying a list
talent like Case and presumably Robert Carrey. Well, it's still
a fraction of that cost, A tiny fraction.
Speaker 1 (12:33):
Sounds good for WBD, But hang on, let me play
devil's advocate. If the goal is to pump Life back
into a billion dollar IP, isn't sticking it just in
comics kind of limiting. Comics don't have the reach of
cartoon network.
Speaker 2 (12:47):
Right. That's a fair point, a really fair challenge. But
the strategy here isn't about immediate mass reach. It's about
rebuilding mass credibility first, Okay, explain that they're tapping into
that huge well of fan nostalgia. They're using the original
creators to guarantee quality, they're proving the concept still works,
that there's hunger for a more serious take, and they're
(13:09):
doing it without the massive financial gamble of a show
that might flop.
Speaker 1 (13:12):
So the comic is like proof of concept exactly.
Speaker 2 (13:15):
If this comic run is a hic, critical praise, sell out,
issues tons of online buzz, it basically hands WBD a
pre tested, validated concept with a proven, engaged audience. It
makes the argument for that eventual big budget animation or
live action project much much easier to sell internally.
Speaker 1 (13:32):
It de risks the bigger investment down the line.
Speaker 2 (13:34):
Precisely, it's a smart, step by step way to bring
the IP back strong less of a giant leap more
of a calculated climb.
Speaker 1 (13:41):
So it's both a creative homecoming and a calculated corporate strategy.
Speaker 2 (13:46):
Okay, that makes sense. Let's shift then to section three.
What can we actually expect from this new comic? The mythology,
the creative.
Speaker 1 (13:54):
Vision, right the actual content? We know?
Speaker 2 (13:56):
Issue one is coming February twenty twenty six. Written by
Joe Case, art by Robert Kerry.
Speaker 1 (14:01):
And Carrie's a fantastic choice his work on stuff like
Outsider's James Bond. It signals a certain esthetic.
Speaker 2 (14:07):
Right away, well kind of aesthetics.
Speaker 1 (14:09):
It's got grit, it's kinetic, it's sophisticated. It's definitely not
the look of the twenty sixteen cartoon. It suggests a
more mature, visually dynamic take, something that treats the action
and the stakes seriously.
Speaker 2 (14:20):
And as the story itself starts with the Origin, Ben
finding the Watch but updated.
Speaker 1 (14:26):
Yeah, they're relaunching the Origin, but the promise is modern
updates and that deeper texture comics allow. So yes, expect
the core elements, the Omnitrix Discovery, the Summer Trip, Gwen Max,
maybe Viilgak showing up earlier classics.
Speaker 2 (14:39):
But the potential here is that they won't just rehash
the old beats. They can use that familiar origin to
ask bigger questions right from the start. What's it really
like for a ten year old to get this insane
power in today's world? How does it mess with his head?
What are the immediate global implications when aliens are suddenly
proven real?
Speaker 1 (14:58):
And moving away from that basodic monster of the week
structure that TV often demands, ord.
Speaker 2 (15:04):
Is what comics do best. Thoughtful continuity. That's the term they're.
Speaker 1 (15:07):
Using, meaning things stick, actions have consequences.
Speaker 2 (15:11):
Exactly, and a lot of the old show Ben could
cause chaos, save the day, and next week it's basically reset.
Thoughtful continuity means if Ben messes up big time in
issue hashtag one, that mistake ripples through the story, it
has lasting impact. In issue hashtag five, issue hashtag ten,
it will reward you for reading month to month and
lets characters genuinely grow and change.
Speaker 1 (15:32):
And that growth includes Gwen and Grandpa Max too. They're
not just background.
Speaker 2 (15:36):
The plan seems to be keeping that core family adventure feel,
but definitely deepening their roles. Gwen's magic potential, which Alien
Force explored. Maybe that's part of the story from day.
Speaker 1 (15:45):
One now right, not just added later.
Speaker 2 (15:47):
And Grandpa Macx's history is a plumber that intercalactic police force.
Weeding that into the origin gives the omdatrix discovery immediate
cosmic weight. It's not just a random accident Ben stumbles upon.
Maybe it was always meant to intersect with Max's past.
They can tackle modern themes through these characters, too, identity, responsibility,
the ethics of power.
Speaker 1 (16:07):
Okay, let's talk aliens. The transformations are the hook right,
heat Blast, Forearms, Accelri. How do they refresh those icons?
Speaker 2 (16:15):
Well, visually expect Robert Carey's style to make them look
probably sharper, maybe a bit more imposing. But the real
potential is expanding the lore.
Speaker 1 (16:25):
What do you mean?
Speaker 2 (16:25):
Animation can show you the alien fighting comics can take
you to the alien's home world. They can spend pages
exploring the culture of heat Blast species Pyrronites, or the
political situation on Forearms planet, or the biology behind accelerates speed.
Speaker 1 (16:39):
Stuff the cartoon could only hint at because of time
or budget.
Speaker 2 (16:42):
Exactly why were these ten aliens the first one's Ben got.
The comics can actually delve into the Omnetrix's selection process.
The species histories. It turns the transformations from just cool
power ups into actual world building opportunities, makes the universe
feel bigger.
Speaker 1 (17:00):
That sounds like something longtime fans would absolutely eat up.
Speaker 2 (17:03):
Oh for sure. It adds layers that just weren't possible before.
Speaker 1 (17:07):
And this focus on depth, on moving forward. It connects
to Man of Action's whole philosophy here. But they're not
looking backward.
Speaker 2 (17:14):
That's their mantra for this innovative storytelling. They're being very
clear this is not a direct sequel to Alien Force
or Omniverse. They know that continuity got complex, maybe even
painted itself into some.
Speaker 1 (17:25):
Corners, so clean slate is easier.
Speaker 2 (17:27):
They seem to think. So they want a definitive, accessible
starting point. They're basically saying, look, we explored aging, bent up,
we did the complex sequels. Now we want to perfect
the original concept with the freedom and depth comics allow,
without being tied down by everything that came after two
thousand and eight.
Speaker 1 (17:43):
Which you can imagine has sparked some debate online among
the hardcore fans.
Speaker 2 (17:47):
Oh yeah, it's definitely a hot topic. You need to
acknowledge that tension. On one hand, you have tons of
fans officially millennials who grew up with the original, who
are absolutely thrilled seeing the original creators back promising quality
after maybe being let down by the twenty sixteen reboot.
It feels like validation.
Speaker 1 (18:07):
But on the other hand, you have that.
Speaker 2 (18:08):
Dedicated group who love the deep lore of Ultimate Alien
and especially Omniverse. They invested years in Ben growing up
Kevin's redemption arc, the huge cosmic threats for them, Wiping
the slate clean feels like throwing away all that character development,
all that world building they cared about.
Speaker 1 (18:25):
It's the classic reboot problem, isn't it fresh start versus
honoring established continuity?
Speaker 2 (18:30):
It really is, and man of Action with wbd's blessing
obviously has chosen the fresh start, betting that a perfectly executed,
high quality origin will ultimately win over more people than
trying to continue a complex, potentially alienating older storyline.
Speaker 1 (18:45):
So overall reception is positive despite that specific fan debate.
Speaker 2 (18:49):
Generally, yes, hugely positive, because it signals that the core
ideas of Ben ten, heroism, family discovery are being taken
seriously again with the kind of depth fans have wanted.
Speaker 1 (19:01):
And there's another layer here too, the business side. Again,
the hope that comics offer independence from let's call it
network interference.
Speaker 2 (19:10):
That's a huge potential upside. One of the recurring criticisms
over the years for various ben ten iterations was that
network notes or toy company demands sometimes seem to override
creative choices.
Speaker 1 (19:22):
Like we need this alien to show up more because
the toy isn't selling exactly.
Speaker 2 (19:26):
That kind of pressure. If Manufaction truly has creative control
over this comics direction, they can theoretically shield the story
from those commercial demands. The narrative drives the ship, not
the quarterly tour report. That independence is a big draw
for creators and potentially a big win for the story's quality.
Speaker 1 (19:43):
Okay, so that brings us to the final section, section four.
What does this all mean for the future, the bigger picture?
Speaker 2 (19:49):
Right? The implications?
Speaker 1 (19:50):
Well, first off, the franchise's history shows it's incredibly adaptable.
It survived different tones, different target audiences. This comic feels
like the latest evolution, proving the core idea works anywhere.
Speaker 2 (20:03):
Absolutely. That core concept kid gets Alien Watch becomes Hero
is just solid gold. It's like Spider Man. The idea
is so strong it can sustain itself. Across comics, movies, games, cartoons.
This comic Run seems designed to be that central pillar,
that narrative foundation for whatever comes next, building out the
whole IP ecosystem.
Speaker 1 (20:22):
Let's clarify that ecosystem again. Ownership versus creation key distinction.
Speaker 2 (20:27):
Warner Bros. Discovery owns the IP, ben Ten, the Omnitrix,
the character is the name, that's their asset. But Man
of Action are the creators and for this project, they
seem to have significant creative control.
Speaker 1 (20:38):
So WBD owns the house, but Man of Action gets
to decorate it. Basically, that's a decent analogy.
Speaker 2 (20:44):
WBD benefits if Man of Action makes the IP more
valuable through successful comic. It's a partnership where WBD trusts
the original creators to revitalize their asset.
Speaker 1 (20:52):
And if the comic is a smash it, WBD is
definitely watching closely thinking about bigger things.
Speaker 2 (20:58):
You bet they are successful. Acclaimed comic Run is the
perfect springboard. Suddenly new action figures based on Robert Carey's
designs look very attractive. Maybe Playmates comes back, or maybe
a higher end company like McFarlane steps in for collectors.
Video games definitely imagine a game that actually uses the
(21:19):
deeper alien lore the comic establishes, and the big one,
of course, is animation.
Speaker 1 (21:24):
Yeah, you mentioned Duncan Roulleau hinting at exploring Ben in
new ways, maybe something more mature exactly.
Speaker 2 (21:30):
He's talked about exploring the complexity of being a child
hero with immense power facing serious threats, maybe without just
fast forwarding him to college age like Alien Force did.
A hit comic proves there's an audience for that more
sophisticated take, So the.
Speaker 1 (21:43):
Comic could directly lead to, say, a new animated series
aimed at older teens or young adults, something like Invincible
or Young Justice.
Speaker 2 (21:51):
That seems like the dream scenario for many fans and
likely part of the long term strategy of the comic. Succeeds,
it provides the narrative blueprint and confirms the audience demand
for WBD.
Speaker 1 (22:01):
It's not all smooth sailing. There are big challenges here.
Speaker 2 (22:04):
Right, huge challenges. That balancing act we talked about, it's massive.
How do you make a comic that satisfies adult readers
looking for depth and sophistication, maybe comparing it to the
best of Marvel.
Speaker 1 (22:17):
And DC, while also appealing to younger readers, maybe kids
who only know the lighter twenty sixteen reboot.
Speaker 2 (22:23):
It's trying to hit two very different targets simultaneously. That's
incredibly difficult to pull off consistently.
Speaker 1 (22:28):
And then there's just the general noise out there reboot fatigue.
Everyone feels like every franchise is constantly getting rebooted.
Speaker 2 (22:35):
That's the environment they're launching into. This Ben ten reboot
needs to feel essential, special, not just another reboot number
five or whatever. It has to deliver on that best
ever promise to cut through.
Speaker 1 (22:47):
So the pressure is really on Man of Action's creative execution.
Speaker 2 (22:51):
Immense pressure. They're betting that their genuine passion, their original vision,
and the freedom of the comic format will be enough
to make this standout. It's a long game strategy, playing
out one issue at a time.
Speaker 1 (23:01):
Okay, let's try and wrap this up then summing up
this deep dive, Basically, Ben Tennyson, the kid with the
alien Watch, is coming home to his original creators yep,
and they're ditching the limits of TV animation for the
quote unlimited canvas of comics, a full circle move perfectly
timed for that twentieth anniversary and the core takeaway.
Speaker 2 (23:22):
The nugget for you listening should be that this is
a really smart play by everyone involved. WBD and Man
of Action are using comics to try and craft the
definitive Ben Ten, like an ultimate Ben Ten or an
absolute Ben.
Speaker 1 (23:35):
Ten Prestige version exactly.
Speaker 2 (23:37):
A continuous, high quality story that maybe the TV shows,
with all their pressures, could never fully deliver. This isn't
just about selling toys this time. It feels like an
attempt to establish the lasting story of Ben.
Speaker 1 (23:49):
Tennyson sets a high bar for the next twenty years
for sure. Okay, before we go, let me leave you
with that provocative thought, something to chew on until we
actually see issue hashtag one in February twenty six. We've
seen the Ben Ten franchise make huge turns based on
things like toy sales figures and network demographics, right, cold
hard business decisions. So now Man of Action supposedly has
(24:12):
total creative control over this comic story. The question is
can they really create a long term narrative that ignores
those commercial pressures completely or is the need for mass
market appeal just too baked into a massive ip like
this to ever fully escape Even in comics, can the
story finally lead the business, or will the business always
find a way to influence the story
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