Grumpy Old Fan Archives - Page 2 of 6 - Robot 6 @ Comic Book Resources
First off, yes, I have read the first issue of Batman Eternal, but since its “pilot episode” includes issues #1-3, I’ll be talking about those more specifically in a couple of weeks. Eternal is one of two weekly series DC will offer this year, the other being Futures End, a look into the shared superhero universe five years from now.
However, we might well ask what difference will there be, one year from now, between an issue of either series and your average issue of a monthly title? When Eternal and Futures End are collected in their entirety two years from now, how different will they be from collections of Court of Owls or Throne of Atlantis?
The obvious differences are time and volume. The year-long weekly comics that DC put out from 2006 through 2009 — 52, Countdown and Trinity — all used their speedier schedule to tell a big story in a (relatively) short time. Instead of letting their epic tales play out over four-plus years, these series each got ‘em done in one.
Now think about sitting down with one of these thousand-page sagas. It won’t take a year to read, but it’s not something to approach lightly. That puts a special emphasis on how they’re to be read. Today we’ll look at DC’s history with weekly series (and some related experiments), with an eye toward what the two new ones might offer.
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DC Comics’ current publishing pattern seems to center around growing various franchises, like Batman, Superman, Green Lantern and the Justice League. Aquaman is one of the publisher’s more familiar faces, he’s rooted pretty deeply in the superhero line, and he’s even had a good bit of multimedia exposure. However, when the April solicitations came out at the end of January, I wasn’t sure the world had been clamoring for another Aquaman title.
After reading the first issue of Aquaman and the Others — written by Dan Jurgens, penciled by Lan Medina, inked by Allen Martinez and colored by Matt Milla — I’m still not entirely convinced. AATO #1 is a solid first issue, dealing largely in traditional superhero matters, but its last-minute attempt to tie into the larger DC Universe comes from out of left field, and threatens to hijack the main narrative. Otherwise, it’s a fine reintroduction which gives newcomers a good glimpse at characters who are still pretty obscure. Still, those good fundamentals will have to overcome the why-should-I-care factor.
The final issue of Forever Evil was originally scheduled to come out this week, but now seems to have been delayed until May 21. That’s too bad, at least for those of us who’ve been following the thing since September (because those delays evaporate in collections). However, it gives me some time to digest what’s been presented so far. It also offers a chance to look back at a 2002 graphic novel that features a couple of the same peripheral elements.
Aw yeah! In my household, the best news from DC’s June solicitations is the six-issue Tiny Titans: Return to the Treehouse miniseries. I showed the cover to my 5-year-old and she was crestfallen to learn it didn’t come out for another three months. At least she can fill the time reading the other paperbacks (and Superman Family Adventures) and watching Frozen on an endless loop.
I may also have to get the Li’l Gotham figures, although at $13 a pop they are pretty pricey. Perhaps just Batman and Robin.
Oh, there’s more? What could it be …?
LET’S GO PLACES
The solicitation for Futures End #6 — advertising Ray Palmer, Frankenstein and Amethyst’s trip into the Phantom Zone — makes me irrationally optimistic about the series generally. I think the New 52 needs this series (or something like it) to present a coherent shared universe, because for the past two and a half years it’s been a clash of disparate styles and an array of changes without much to pull it all together. If Futures End can manage a good-sized, eclectic cast, and convince readers they’re all able to function in the same basic environment, that’ll go a long way towards giving the superhero books common ground.
Although the five-years-later setup of Futures End won’t be here until May, it got me thinking about a not-so-new New 52. The current comics take place some five years after Superman and company debuted — plus, apparently, a year for the face-free Joker to recuperate — so if you add five more years, it’s like double the amount of history! Well, double the amount of history that “matters,” I guess.
As I have been pretty critical of the present timeline, I’ll be curious to see how Futures End treats those additional five years. I suspect that, for the most part, they’ll be five years of “filler,” in the sense that mostly bad, Futures End-specific things happened during that time to bring DC-Earth to whatever sorry state we see in FE #1. I’ve heard that when all the New 52 books jump ahead five years (in September, naturally), they’ll reflect where their creative teams would like to take the characters in five years — but those will only be single issues, as opposed to the year-long weekly installments of Futures End. Besides, my bitter, resentful impulses remind me that it might well have been simpler just to start off with a 10-year timeline that would only have tweaked the old pre-relaunch status quo, not thrown out huge chunks of it.
Not that I’d forgotten, but CSBG’s new 75 Greatest Batman Covers poll was just the latest reminder that this is Batman’s 75th anniversary year. According to Mike’s Amazing World of DC Comics, Detective Comics (Vol. 1) #27 hit newsstands on or about April 18, 1939, which means the celebrations don’t have to start right away.
Still, so far Batman’s 75th seems to be a rather low-key affair, at least as compared to Superman’s 75th last year. That anniversary included a special logo, a new movie, a few new ongoing series, a couple of celebratory collections (including one for Lois Lane, who shares the anniversary) and an animated tribute. Batman’s already gotten a giant-sized Detective (Vol. 2) #27, and the final Arkham Asylum video game is coming out. Additionally, before 2014 ends, we’ll probably see Ben Affleck in the new Batsuit, plus whatever Batman Eternal has in store. Beyond that, however, it seems like business as usual for the Dark Knight.
Fortunately, business has been pretty good for a while now, such that slapping an anniversary tag on the various Bat-offerings almost seems superfluous. By this point Batman practically is eternal — but what does that really mean?
Readers of superhero comics have long debated the merits of “decompression” and “waiting for the trade.” You can either read a serialized story as it comes out, or you can wait until it’s collected. With two issues to go, it looks like Forever Evil wants it both ways. It is structured for the Wednesday crowd but written for the trade; and so far, the result is a grim, vignette-driven affair. Writer Geoff Johns and artists David Finch and Ivan Reis (and their various collaborators) have set up an apocalyptic scenario and teased a handful of elements pointing toward its resolution; but they haven’t otherwise done much, issue to issue, to move the story closer to that resolution. Indeed, the deeper I get into Forever Evil, the more I suspect that it — like its prologue, “Trinity War” — may be only the latest chapter in an ever-expanding saga.
By itself that would be unsatisfying enough. However, Forever Evil was supposed to show off DC’s shared universe (New 52 edition). To be fair, its Justice League crossover issues have presented New 52 versions of Plastic Man, the Doom Patrol and the Metal Men, and alluded to past battles with old-school villains like Ultivac and the Construct. Still, except for the Metal Men, none seems directly related to FE’s eventual outcome; and each seems intended instead as an Easter egg or the seed of a future series. Indeed, while the “Blight” crossover has shown what happened to the magic-based superheroes, FE itself hasn’t delved too far into the whereabouts of DC-Earth’s non-Leaguer super-folk. For those of us wanting each issue to go somewhere new, or at least somewhere different, month in and month out Forever Evil has felt fairly repetitive. Moreover, in sidelining the Justice League itself, it’s removed a potentially productive narrative thread.
Inasmuch as these choices relate to the changing comics marketplace, Forever Evil could be one of the last big events structured this way, or it could be the shape of things to come.
Not a lot in DC Comics’ May solicitations really strikes me as “new.” That’s due partly to a lot of the new books being set to launch a month earlier. Generally, the superhero line continues to contract, while The New 52 — Futures End kicks off, the New 52 version of Doomsday keeps rampaging through the Superman titles, and Batman Eternal rolls on. Nevertheless, I do have the irrational sense that the line is gearing up for something even more significant, and will be adding new series over the next few months.
Still, if we’re to get excited about the regular fare, we may have to read between the solicitations’ lines — so let’s get on with it, shall we?
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A NEW 52 FOR THE NEW 52
And here it is, Futures End. Last year I wrote the New 52 needed its own version of 52, the year-long miniseries that spanned time and space to focus on the lesser lights of the superhero line. I talked about exploring the geography of the still-new shared universe, doing character studies, and essentially giving the reader a good sense of place and/or connection.
DC’s serialized superhero-style comics operate on two basic levels: First, they’re an array of periodicals, with a different lineup of issues published each week. Next, those installments are collected into distinct volumes and published on a separate schedule. That’s nothing new. The single-issue reader sees the books differently from the collection-oriented reader, and each way has its advantages and disadvantages. These days, however, caught somewhere in the middle is the miniseries.
Since the New 52 relaunch, miniseries have been a lot more scarce in DC’s superhero line. That’s understandable, considering that the New 52 itself began as a group of ongoing series, and (even if DC isn’t putting out exactly 52 of ‘em each month) it takes a good bit of effort to maintain that many regular titles. Nevertheless, not so long ago, superhero-style miniseries were about as plentiful as their ongoing cousins. The last time I looked at the numbers in detail was in the summer of 2008 — when, over the previous five years, miniseries issues accounted for about one-third of the superhero line’s output.
Of course, DC still produces big event-style miniseries — just look at Forever Evil and its spinoffs, to say nothing of the Before Watchmen minis — but those tend to be sure things, as are the recent Damian Wayne and Batman: Black and White miniseries. The kind of miniseries that tests the market’s appetite for a particular character — think Huntress, My Greatest Adventure or Human Bomb — has become considerably more rare since the New 52 debuted. Instead, the New 52 has produced low-selling, quickly canceled ongoing books like Blackhawks, Sword of Sorcery, Threshold and Green Team. That track record isn’t exactly flattering, so today we’ll look at whether DC might want to ease up on the ongoing-series commitments, and put more minis back on its schedule.
Putting Geoff Johns (writer), John Romita Jr. (penciller), and Klaus Janson (inker) on Superman sends a strong message to the cape-comics marketplace. At its core, that message seems to be “we’re not fooling around with the Man of Steel.”
Whether clad in T-shirt or Kryptonian armor, Superman has been the face of the New 52, in good ways and bad, since the 2011 relaunch. A Johns-written, Jim Lee-drawn Superman was part of the first New 52 comic published, namely the first issue of Justice League. Therefore, it’s eminently appropriate for one of DC’s highest-profile writers to take on its flagship character in his eponymous series. Likewise, art by longtime Marvel stalwart JRJr and veteran inker Janson is also appropriate to Superman’s central position in DC’s superhero line.
However, Johns also comes to Superman with a certain set of expectations, starting with his anticipated tenure. Writer/artist George Pérez and finisher Jésus Merino kicked off the current series, but they didn’t stay long; and for several months Superman struggled to find a consistent creative team. Incumbent writer Scott Lobdell came aboard with issue #13 and is scheduled to stay at least through April’s issue #30. That’s a year and a half, give or take a Villains Month, and it’s allowed Lobdell to leave his mark on Superman’s adventures. Moreover, Lobdell arrived about two-thirds of the way through Grant Morrison’s run as Action Comics writer, so for about a year, Lobdell has at least offered some consistency while Action tried to lock in a creative team. Johns has just come off two years writing Aquaman — not to mention multi-year runs on Green Lantern, Action, Flash, JSA, and Teen Titans — so it’s not unreasonable to think he’s got at least a couple of years’ worth of Superman in him.
In the long run, DC Comics canceling Teen Titans may not mean much: The Legion of Super-Heroes is on hiatus, but it’ll be back. Likewise, I think there will be a new Teen Titans title — maybe called Young Justice? — sooner rather than later.
What’s curious about the end of this particular series, which coincides with writer Scott Lobdell’s departure, is it suggests more than just a name change. The Titans began as an all-star team, like their mentors in the Justice League, but over time the title focused increasingly on interpersonal relationships. The New 52 version of the team now features a Wonder Girl and Kid Flash who have virtually no connection to their older namesakes. Only Superboy has a solo title, and besides him only Red Robin appears regularly outside of Teen Titans. That makes the Titans rather insular, so I wonder if the inevitable relaunch will try to address that.
Whatever happens, odds are that the all-star structure that characterized DC super-teams since the 1940s has faded into the background for good. This week we’ll examine the Titans’ place in the superhero line, and see what the book has to offer going forward.
This look at DC’s latest round of solicitations may be quicker and dirtier than usual, mostly because this week I thought I was going to be talking about Teen Titans’ cancellation. We’ll do a little of that this week, along with the other titles on the chopping block.
However, for a while now we’ve known that April — being the first post-Forever Evil month — will feature some big changes, and those start right here.
BY THE NUMBERS
I count 47 ongoing New 52 series, but that includes the six books canceled as of April, and it only counts Batman Eternal — which, contrary to my expectation, is not solicited as a limited series — once. Thus, if DC still wants to hit the magic number, it needs to come up with 11 new series for May.
Naturally, now I’m having reservations. My wellspring of fannish entitlement tells me that Wally comes with certain Implications. It may not be enough simply to reintroduce some guy who happens to have the same name, because Wally has his own 50-plus years of history.
And that’s a perfect segue into another recent announcement: An ongoing Secret Origins series sounds like it could serve much the same purpose as the last SO ongoing (1986-90). That series ran for 50 issues, plus various annuals and specials, and it helped organize various bits of continuity in the wake of Crisis on Infinite Earths. For example, 1986′s Secret Origins debut spotlighted the Golden Age Superman, in a story by Roy Thomas, veteran Super-artist Wayne Boring and inker Jerry Ordway; and the first New 52 issue will feature Superman, Supergirl and Dick Grayson’s Robin origin.
I am cautiously optimistic about both of these announcements, but on balance I am a bit more excited for Secret Origins.
Time once again to revisit some thoughts about the year just ended, and offer some thoughts on the year to come.
First, let’s see how I did with 2013:
1. Man of Steel. Last year I asked “a) how well will it do with critics and moviegoers; and b) yes, of course, will it help set up Justice League?” It got a 55 percent (i.e., Rotten) ranking from Rotten Tomatoes (although 76 percent of RT visitors who cared to vote said they liked it). Financially, Box Office Mojo called it a “toss-up,” putting it in the same category as Star Trek Into Darkness, World War Z, The Wolverine, The Hangover Part III, Pacific Rim and, uh, The Smurfs 2. I liked it well enough — I seem to like a lot of things “well enough” — but perhaps Super-fan Jerry Seinfeld’s musings about missed opportunities speak best to the film’s reception. MOS itself didn’t help set up a Justice League movie, at least not as expressly as, say, Nick Fury talking about the Avengers; but I think it’s safe to say that the sequel will go a long way in that regard.
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Today, Carla and Tom continue to muse through all the news the Big Two have brought us in 2013. See can read the first installment here.
Tom Bondurant: The Marvel Cinematic Universe (Avengers division) is now five and a half years old, and consists currently of eight movies, a handful of shorts, and a half-season of TV.
Carla Hoffman: Holy cats, we work fast!
Tom: However, it’s about to get a lot bigger, adding two movies next year, plus the four Netflix series (and the Defenders movie coming out of those). Clearly this looks like a long-term commitment — but how long can it go?
Carla: Ask me after Ant-Man. That’s going to be the hardest movie to sell to non-comic fans. If that turns out to be a surprise hit enough for Ant-Man (whichever alias he may be) to turn up in an Avengers movie, then I can’t think of a property that wouldn’t work on the silver screen as long as the right creative team is at work.
TB: See, I think Ant-Man just got a lot easier to sell, because now it’s “Paul Rudd joins the Avengers.”