DC Comics: The New 52 Archives - Robot 6 @ Comic Book Resources
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.
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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.
“What you’ve seen over these decades is less of a black and white between the heroes and villains. Back in the ’30s, ’40s and ’50s, you had clear-cut heroes, clear-cut supervillains. Today, you have more of a blend, more of a gray area between the two. You have the rise of the sympathetic villain and the rise of the antihero. You have a lot of characters who follow the motto ‘The ends justify the means,’ and depending on what the ends are, are they a villain or a superhero? That’s what makes supervillains today more modern. We’ll show their back story, we’ll show their motivation. It’s not just about robbing a bank of $10 million. They’re a lot more complicated and layered and thematically rich today than they were in the past.”
– DC Comics Co-Publisher Jim Lee, in an interview with the Los Angeles Times that touches upon Villains Month, digital distribution, and the whereabouts of Batman: Europa.
DC Comics hasn’t had a particularly good run of things lately. To be frank, the publisher has done blown it a number of times over the past few years. But don’t worry, DC fans — I’m sure it’ll soon be Marvel’s turn, as the two rivals seem to trade off every five years or so.
I’ve been calling out DC for the past couple of weeks, but that doesn’t mean everything it does strikes me as wrong. It’s important to declare shenanigans, but it’s also important to recognize when a publisher does something that’s good for comics.
So here are six things DC is doing right:
1. Digital comics: Legends of the Dark Knight and Adventures of Superman are digital-first anthology series that feature some excellent creators (from Jeff Parker and Chris Samnee to J.M. DeMatteis and Jeff Lemire) producing completely accessible and entertaining stories that stand on their own; no college course on the New 52 or Crisis on Infinite Earths required. Yes, these stories are out of continuity — so for a percentage of readers, they don’t count. That’s a mistake, because there’s nothing wrong with a straight-up superhero tale that exists on its own terms. These two anthologies are the gems of DC’s digital-first line-up, but Batman ’66 and Batman: Li’l Gotham also offer fantastical takes on the iconic Caped Crusader that are bright and fun. For those exhausted by the angsty versions of serious stories, you owe it to yourself to check these out.
Students of DC Comics’ publishing history can probably rattle off at least a few editors from the company’s first few decades. Whitney Ellsworth edited the Batman and Superman books in the 1940s and ‘50s before becoming a producer on the Adventures of Superman television series. In the Silver Age, Mort Weisinger presided over an exponential expansion of Superman’s mythology, including all those varieties of Kryptonite, the introductions of Supergirl, Krypto and the Legion of Super-Heroes, and ongoing series focused on Lois Lane and Jimmy Olsen. Similarly, as editor of the Batman titles, Jack Schiff supervised one of the character’s most recognizable periods, filled with colorful mysteries and giant-sized props.
Of course, the phrase “Silver Age DC” is virtually synonymous with Julius Schwartz, who worked with writers Gardner Fox and John Broome and artists Carmine Infantino, Mike Sekowsky and Gil Kane on rebuilding DC’s superhero line. One could argue fairly reasonably that without them DC Comics as we know it today might not exist (and neither would today’s Marvel).
However, while Ellsworth became DC’s editorial director in 1948, Schwartz Schiff, and Weisinger weren’t in similarly lofty positions. Today we readers hear a lot about “editorial control” and the dreaded “editorial interference,” charges aimed largely at the men at the top: Editor-in-Chief Bob Harras, Co-Publishers Dan DiDio and Jim Lee and Chief Creative Officer Geoff Johns. We hear a lot from them (illuminating and otherwise) about the general direction of the company. We also hear a good bit from various writers and artists, including Johns and Lee, regarding specific titles.
Nevertheless, on the management tier in between are the books’ editors themselves; and that’s the area about which I’ve become rather hazy. Therefore, I started looking through New 52 credits boxes, and supplementing this research through the Grand Comics Database, to see who was editing what.
In late August 2011, just ahead of DC Entertainment’s’ high-risk relaunch of its superhero line, the company’s executive vice president of sales, marketing and business development emphasized the New 52 wasn’t merely a gimmick to seize more shelf space.
“To be clear – DC is not a market-share-chaser. If we were, we would not be creating a quality lasting direction across a controlled number of titles,” John Rood wrote on the DC Comics blog, setting up on obvious shot at Marvel. “We would instead be flooding the market with over 200 titles a month, changing your prices with abandon, killing off a character every quarter or so, and/or randomly announcing decimal-pointed event-ish thingies. We haven’t.” That, of course, was a reference to Marvel’s Point One initiative and the then-recently announced Fear Itself #7.1, #7.2 and #7.3.
Now fast-forward to this morning, less than two years later, as DC rolls out the details of its newly confirmed “Villains Month,” the September event in which the company’s antagonists take center stage in the aftermath of “Trinity War”: As the Batman solicitations for September show, any issues DC had about decimal-pointed event-ish thingies appear to have resolved, because we’re presented with Batman #23.1: The Joker, Batman #23.2: The Riddler, Batman #23.3: The Penguin and Batman #23.4: Bane.
If you were just thinking your summer wouldn’t be complete without some New 52-inspired beach and camping accessories or garden tools, well, you’re in luck: Target has partnered with Warner Bros. Consumer Products and DC Entertainment to introduce an exclusive summer collection of Justice League merchandise.
Debuting Sunday, the line features more than 50 products, sand toys designed to form cities like Gotham and Metropolis, Wonder Woman melamime dinnerware, a Batman snack cup and apron, a Wonder Woman kids’ camp chair, and Batman, Wonder Woman and The Flash beach towels that double as capes.
In addition to the the summer collection, the partnership will see the introduction of a wide range of Justice League merchandise, ranging from $1 Justice League temporary tattoos to the $59.99 Justice League rocking chair. There will also be a line of Justice League Halloween costumes later in the year.
“DC Comics’ Justice League characters are a powerful assemblage of the most recognizable Super Heroes in the history of comic books,” Brad Globe, president of Warner Bros. Consumer Products, said in a statement. “We are incredibly excited to offer fans of all ages a unique collection and collaboration that pairs the heroics of the Justice League characters with the product design and marketing super powers of Target.”
Shortly after Comic Book Resources announced DC Comics will no longer participate in a monthly Q&A feature, the publisher has launched “What’s New in The New 52″ on its own press blog.
CBR’s four-month-old “B&B” column featured Editor-In-Chief Bob Harras and Editorial Director Bobbie Chase answering questions from Staff Writer Josie Campbell and readers about series launches and cancellations, story developments and, occasionally, controversial decisions. But in an editor’s note appended to today’s installment, CBR wrote, “the DC team has made it clear to CBR that discussing some of the more controversial debates surrounding the company and the comics community is not something they feel comfortable doing in this format, and ultimately they decided to no longer participate in this feature.”
The inaugural installment of DC’s weekly “What’s New New in The New 52″ is devoted to Harras’ brief discussion of changes in character designs between a preview for Constantine #1 and the release of the issue, and a first look at Papa Midnight.
“The title pretty much says it all – this is where we get to play show and tell,” he wrote by way of introduction. “New looks, new designs, new villains, new heroes … See the trend? The New 52 is about trumping expectations and keeping readers on their toes. Every week, you’ll get a glimpse of that here.
However, why the feature appears on the DC blog intended for press rather than the one dedicated to fans isn’t explained.