EXCL. PREVIEW: "Hal Jordan & the Green Lantern Corps" #1 Enforces 'Sinestro's Law'
Although U.S. publishers occasionally experiment with weekly series — DC Comics, for examples, will soon have three on its plate, with Batman Eternal, New 52: Futures End and Earth 2: Worlds End — comic books in North America traditionally have been released on a monthly schedule. It’s been that way for decades.
However, today sees the conclusion of weekly miniseries that not only make you reconsider that tradition, but also leads you to wonder whether the story’s impact would have been lessened by monthly release.
Created by writers Marc Bernardin and Adam Freeman and artist Afua Richardson, the five-issue Genius was published weekly throughout August by Top Cow Productions (the final two installments went on sale this morning). This break from the tradition allowed the story to build a momentum that would have been missed had it unfolded over the course of five months.
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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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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Because it’s the day after Christmas, and I don’t want to write 1,500 words about Forever Evil and its Justice League tie-in — except to say they both felt a lot like stereotypical Lost, and not necessarily in a good way — here’s a stocking’s worth of number-based observations about DC past and present.
Twelve Crisis issues: I talk a lot about 1984-85’s Crisis on Infinite Earths, mostly because it so completely transformed not just DC’s shared-universe continuity, but its publishing philosophy. On its merits, Crisis is a mixed bag, pairing stunning visuals with a sometimes-flabby narrative. However, despite its sprawl, COIE ended up with a definite structure. The first four issues deal with a mysterious antimatter onslaught which destroys whole universes, apparently including the familiar Earth-One and Earth-Two. The final page of Issue 4 is nothing but black “smoke” clearing away, revealing blank white space. Issues 5 and 6 offer vignettes on the five surviving universes, as time periods intersect in “warp zones” and ordinary people see multiversal counterparts of departed loved ones. Issues 7 and 8 are, to put it bluntly, the Big Death issues, with Supergirl saving her cousin from the Anti-Monitor and the Barry Allen Flash destroying Anti-M’s latest doomsday weapon. Issues 9 and 10 feature the “Villain War” and a two-pronged time-travel assault on Anti-M’s efforts. That ends with a shattered, otherwise “blank” comics panel, as the Spectre wrestles Anti-M for control of history itself — and issues 11 and 12 feature the heroes of a new, singular universe fighting a final battle against the Anti-Monitor. Today’s decompressed (and sometimes decentralized) Big Events focus more on character moments and slow burns, and more often than not they don’t have to streamline fifty years of continuity, but Crisis remains a model for just how big an Event can be.
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Although I’m looking forward to Justice League 3000, I still can’t quite get over the Legion-sized hole in DC’s roster. The Legion of Super-Heroes turned 55 earlier this year (on Feb. 27, according to Mike’s Amazing World of Comics), which makes it some 18 months older than Hal Jordan and the Green Lantern Corps, and almost two years older than the Justice League. Indeed, the Legion’s enduring popularity has made it one of the“foundational” features that DC will probably publish until its doors finally close, along with Superman, Batman, Wonder Woman, the Flash, the League and Green Lantern. However, today I want to talk about the Legion in terms of a different kind of landmark.
By definition, a shared universe is composed of the combined details of its constituent features. We tend to think of this in terms of geography, cosmology and the space-time continuum. Accordingly, DC-Earth has various additional “fictionopolises” (including Metropolis, Gotham City, Central City and Coast City) and nations (like Atlantis and Themyscira); and it shares a universe with planets not found so far in ours (Oa, Tamaran, etc.). There are also other planes of existence to be explored (Gemworld, Earth-2, the Fourth World and the Fifth Dimension); as well as series set in the Dark Ages, the Old West and of course the 31st century.
Over the summer I wrote about the rate of “idea generation” across decades of DC history. Essentially, I was talking about the number of new ideas (or new uses for old ideas) being produced under current superhero-comics storytelling trends. Idea generation and world-building go hand in hand, such that the more ideas you can harmonize into a reasonably coherent (and accessible) shared universe, the better.
The 2006-07 weekly miniseries 52 put DC’s shared universe to good use. Written by Geoff Johns, Grant Morrison, Greg Rucka and Mark Waid, laid out by Keith Giffen, and drawn by an array of artists, 52 had a handful of C- and D-list characters guide readers through various obscure corners of the DCU. 52’s locales included a Metropolis without Superman, Black Adam’s Khandaq, an island of mad scientists, and the farthest reaches of outer space. 52 also featured its share of new characters, like the Chinese super-team called The Great Ten, the intergalactic despot Lady Styx and the dark religion of the Crime Bible. Of course, it also debuted new versions of Batwoman, the Question, Infinity Inc. and Supernova.
Because it chronicled a year in which the Trinity of Batman, Superman and Wonder Woman each disappeared from public view, and because it had that year all to itself (thanks to the other titles’ concurrent “One Year Later” time-jump), 52 gave readers a unique opportunity to poke into the dusty corners of DC’s attic. Due (mostly) to the vagaries of its truncated timeline, the New 52 apparently doesn’t have such an extensive history. However, that doesn’t mean it can’t take readers on a similar journey.
Comics College is a monthly feature where we provide an introductory guide to some of the comics medium’s most important auteurs and offer our best educated suggestions on how to become familiar with their body of work.
Strap yourself in, kids, because this is going to be a big one, as we run through the lengthy and considerable career of one of mainstream comics’ biggest stars, Grant Morrison.