DC Comics: The New 52 Archives - Robot 6 @ Comic Book Resources
Conventions | The Phoenix Convention Center was evacuated Thursday, the first day of Phoenix Comicon, after a fire alarm was triggered by a damaged heat sensor (something similar occurred during last year’s event). Attendees were allowed back in to the venue after about 30 minutes. The convention, which in 2013 drew a record 55,000 people (leading organizers to cap attendance), continues through Sunday. [The Arizona Republic]
Retailing | Kirby Tardy, owner of Collectors Comics in Grand Rapids, Michigan, looks back at 35 years in the business. The store opened downtown in 1979 as Opalia’s Amorphium, and started out carrying a wide range of merchandise; since then it has gone in the opposite direction from many comics shops and focuses mainly on comics themselves, not peripheral items like figures or games. At one time there were several branch locations, and Tardy and his wife Debbie spent a lot of time going to comics conventions in the 1990s. The couple is planning to retire next year, but hopes the business will continue with new owners. [MLive.com]
“The nice thing about coming in to write the New 52 is I don’t have to worry about what came before the New 52. That stuff is great and it can serve as inspiration, but continuity is the devil. [laughs] As a writer, having to slavishly make sense of too much continuity can kill a story. Yes, you want to stay true to the spirit of things, and continuity can absolutely be your friend in creating resonance and a sense of history and paying off certain emotional things – BUT: It was a beautiful, beautiful thing for me walking into the New 52 and being able to look at a small range of stories that had been told, and those are the things that are set in stone, and the rest of it we can make up as we go. We can build the stories that make sense for our characters in order to tell the emotional story that we’re telling.”
– Action Comics and Batman/Superman writer Greg Pak, on juggling different timelines, and different worlds, in the two DC Comics series
The past decade has been good one for Cully Hamner. His creator-owned miniseries Red has served as inspiration for two hit feature films, and he’s found himself in the upper echelon of DC Comics’ talent roster as a cover and interior artist, as well as a character designer for the publisher’s New 52. Now the Alabama-born artist, who recently turned 45, is working on an undisclosed “big” project for DC that will allow him to both draw and co-write, something he’s been wanting to do for years. While he has penned stories for anthologies and one-shots, this will mark his first time writing on a larger scale.
I’ve talked with Hamner for years by email and at conventions, discussing trends in comics, his own work and our shared interest in superhero costume design. After several months of back and forth, I finally caught up with him for this conversation.
It doesn’t matter how many years I’ve read comics, on the eve for the launch of a new series that piques my interest, I always get pumped with excitement. Such is the case this week, given that writer Cullen Bunn and artist Dale Eaglesham‘s Sinestro #1 hits shelves on Wednesday.
The series marks a departure in style for Eaglesham as he pursues a darker, horror tone, an approach he discusses in this interview. He also discusses discusses the opportunity to digitally ink his art, being colored by Jason Wright, collaborating with Bunn, and looking forward for the chance to indulge in Kirby dots (aka Kirby Krackle).
In summer 2011, the Geoff Johns/Andy Kubert event series Flashpoint was reaching its climax, and the fifth issue was devoted to The Flash trying to unscramble the mixed-up, dystopian timeline in a typically Flash way — by running around really fast.
Near the end, there was a strange, two-page spread of an interlude that seemed almost grafted on: The Flash catches a glimpse of a mysterious, hooded woman with glowing eyes and lines all over her face, who says portentously, “Because the history of heroes was shattered into three long ago. Splintered to weaken your world for their impending arrival. You must all stand together. The timelines must become one again.”
The timelines were those of the DC Universe, the WildStorm Universe and a handful of DCU characters who had mainly been appearing in books published by DC’s Vertigo imprint. The result? The New 52, the biggest and most dramatic reboot the oft-rebooted, retconned and otherwise tinkered-with DC Universe had ever experienced in the history of forever; they even relaunched Action Comics and Detective Comics!
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.
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.
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.
“I know it was a bit of heavy lifting for some of the longtime fans of the core characters on the book — and Newsarama fans haven’t been shy about voicing their complaints — but I can’t find it in my heart to apologize.
I was hired to write a series that started the team ‘on page one’ … no history, no preexisting relationships, for readers that were not familiar with the concept of Teen Titans. The new continuity being what it was, Bart could not have been Bart Allen from the future, Superboy could not have been a clone who spent the last few months living on the Kent Farm as Ma and Pa had died some 10 years ago, and on and on. … so while I wouldn’t expect anyone to agree with every choice I made or was handed, I will say I remain very proud of the book I’ve worked on for the last 30-odd issues.”
– writer Scott Lobdell‘s message to longtime Teen Titans fans as the DC Comics series heads toward its April cancellation
Hot on the heels of Monday’s news that Wally West is poised to make his long-requested New 52 debut comes word that Ted Kord, the second Blue Beetle, will return to the DC Universe in April.
Ted Kord returns to the DCU in Forever Evil #7, and plays a role in Justice League post-Forever Evil,” writer Geoff Johns teased Newsarama in an interview tied to this morning’s announcement that Lex Luthor will join the team in the aftermath of the crossover.
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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Last week DC Comics rolled out its February solicitations, but Chief Creative Officer Geoff Johns has already been talking up plans for April. He described the end of Forever Evil as the beginning of the New 52′s “Phase Two,” which would include a host of changes, introductions and reintroductions.
Of course, it’s not like the Internet needs an excuse for ill-informed speculation. In fact, I count just 46* ongoing series in February’s New 52 lineup — and one of those (StormWatch) will be ending in April – so DC will have some roster slots to fill. Therefore, this week let’s look at who might get called up and what DC might introduce.
* * *
Initially, DC divided the New 52 into categories like “Young Justice” (like Teen Titans, Legion of Super-Heroes or Blue Beetle), “The Dark” (I Vampire, Swamp Thing, Frankenstein) and “The Edge” (Deathstroke, Grifter, All Star Western) to go along with the more traditional franchise-oriented groups based around Batman, Green Lantern, etc. This doesn’t quite work any more, mainly because 21e original New 52 series have since been canceled, and a lot of those came from The Edge, The Dark, and Young Justice.
When DC Comics relaunched its superhero titles in 2011 with the New 52, one of the effects was the integration of characters from the former Wildstorm imprint into the DC Universe. Those Wildstorm heroes had a good showing in Flashpoint and in the New 52′s debut titles, but by way of attrition, their presence soon dwindled.
After already seeing series like Voodoo, Grifter,Team 7 and the Wildstorm-esque Ravagers canceled, today we learned that Stormwatch will end in April with Issue 30. It gives a little bit of time for recently hired series writer Jim Starlin to wrap up, but its cancellation is another bad sign for fans of Wildstorm.
With a little more than two years under its belt, DC Comics’ New 52 still has plenty of corners left to explore and hundreds of characters of varying levels of popularity to re-introduce. (Where are you, Wally West?) So when I saw Celsius, Negative Woman and Tempest pop up in this week’s Justice League #24, I couldn’t help but smile a little.
Combined with the New 52 Robotman, who’s sporting a look very similar to the one Cliff Steele had when that version of the team debuted in 1977′s Showcase #94, we officially have Paul Kupperberg’s Doom Patrol joining the ever-growing ranks of “new” heroes opposing the seemingly all-powerful Crime Syndicate. But certainly more interesting than that, this panel, almost a throwaway, fills out the current DCU in a way we haven’t seen much since the early days of the relaunch.
Current Aquaman artist Paul Pelletier has a long and varied history in comics, dating back to the late 1980s. When I learned Jeff Parker would replace Geoff Johns as the series’ writer (beginning with Aquaman #26), I was pleased that DC Comics chose to leave Pelletier on the title (as opposed to switching to a new art team, as frequently happens). I enjoy Pelletier’s take on Aquaman, and I was surprised to learn he’s not well-versed in some of the character’s earlier runs (so readers, please be sure to share your favorite runs in the comments section, since the artist asked “which runs would the Aqua-fans recommend?”). It was a unique opportunity, prior to the October 23 release of Aquaman #24, to chat with the veteran artist as he transitions from collaborating with one veteran writer to another. Plus, I enjoyed hearing about Pelletier’s appreciation of basketball legend Larry Bird.
Tim O’Shea: Once you realized Arthur would be sporting a beard again, did you draw a couple of versions of beards (goatee versus full beard) or did you and Geoff always have one look in mind when it came to Aquaman’s facial hair?
Paul Pelletier: When Geoff wrote Aquaman with the beard, it was a result of Arthur being unconscious for six months, so I figured it wouldn’t be too stylized. A full beard that wasn’t too manicured made sense to me. Now if the beard was to remain, then we might have to think about something a bit more tailored to Arthur.