Who’s your Green Lantern writer?
If you started reading the series in the ‘60s, odds are it was John Broome. He didn’t write every Green Lantern story of Hal Jordan’s first decade, but he was there for the character’s introduction (in September-October 1959′s Showcase #22), and he lasted until March 1970′s Green Lantern #75.
If you joined the Corps in the the ‘70s, your Green Lantern writer was Denny O’Neil, who had already written a few GL stories before getting the regular gig with the landmark Issue 76. He guided the feature through some rocky patches — including the book’s cancellation, its time as a backup feature in The Flash and its 1976 relaunch — before finally taking a bow with June 1980′s Issue 129.
The ‘80s saw a parade of writers, including Marv Wolfman, Mike Barr, Len Wein and Steve Englehart (and in GL’s time as an Action Comics Weekly feature, Jim Owsley/Christopher Priest and Peter David). Each made his own contribution, be it Hal’s exile from Earth, John Stewart’s star turn, the Guardians’ sabbatical, or the enigmatic Lord Malvolio. The early ‘90s belonged to the neo-Silver Age stylings of Gerard Jones, and the balance of the decade was all Ron Marz and Kyle Rayner. Starting in 2000, Judd Winick took on Kyle for three years, then Ben Raab wrote a few issues, and Marz came back for one last crack at his creation.
And since then, it’s been all Geoff Johns.
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If money is power, can a superlative amount of money be a super-power?
I don’t mean here in the real world, where the answer to that question is a rather obvious yes, provided we’re using the word “super-power” metaphorically, and referring to things like saving lives and effecting positive change in general. No, I mean in a fantasy world where super-powers are real, like the DC Universe, the setting of The Green Team: Teen Trillionaires, a new series that seems to be positioning itself to explore the question.
Certainly simply being very, very rich has been a key part of plenty of superhero origins, but Bruce Wayne still had to do an awful lot of studying and training to become Batman, even after buying all those gadgets and vehicles, and Tony Stark still needed to be a super-genius to invent and maintain his very expensive suits of armor.
At least one member of the new Green Team seems to be interested in buying his way into the life of superheroics, a potentially interesting angle for the new series and probably a necessary one, given the state of the comics market and DC’s place in it.
The mythologies built by comics, particularly superhero comics, is often pointed out as one of the great accomplishments of the medium.
There’s no doubt the Marvel and DC universes are impressive feats of world-building. In Marvel Comics: The Untold Story, Sean Howe proclaimed the Marvel Universe “the most intricate fictional narrative in the history of the world”. If you discount DC because of its various universe resets from Crises and Flashpoints and what-have-yous, I guess that’s true. Whoever gets to wear the crown, both sets of characters have been generating dozens of stories, usually hundreds of stories, every month since the late 1930s. Erik Larsen’s Savage Dragon universe might be in third place.
Of course, superhero comics aren’t alone in this: In Japan, popular manga series also tend to get pretty long in the tooth. Osamu Akimoto’s police comedy Kochikame has been running weekly since 1976, resulting in more than 1,700 chapters collected in nearly 200 volumes. Takao Saito’s twice-monthly crime manga Golgo 13 is older, having launched in 1969. One Piece has 69 volumes, Naruto has 64, and Bleach 58.
These are amazing accomplishments, but we don’t appreciate the satisfying arc of a finite story often enough.
An Australian federal court has ruled a Melbourne fitness service cannot register the trademark “Superman Workout,” finding the company made the application in bad faith.
DC Comics had appealed a July decision by the registrar of trademarks that Cheqout Pty’s use of “Superman Workout” was unlikely to deceive or confuse consumers, or lead a significant number of people to presume there’s a connection between the fitness classes and the publisher.
Conventions | Motor City Comic Con founder Michael Goldman has apologized to fans for the long lines they had to endure to get into the event on Saturday, writing in a message on Facebook, “We never expected 18,000+ people to attend that day, which was the same amount of people we had over the entire three days last year. We were literally hit with a ‘Humanity Bomb’ and were not prepared for the sheer number of people attending, even with a large increase in our staff.” More than 30,000 people attended over the course of three days, with attendees reportedly waiting for up to two hours on Saturday just to get into the parking lot, and then another one to four hours to get in the doors. Golden said he is already working on avoiding the same problem next year. [Facebook]
Retailing | Brian Berlin of New World Comics in Oklahoma City is offering free comics and appearances by costumed characters for children left hospitalized or homeless by the tornadoes that struck Oklahoma this week. [Nerdage]
More than three months after teasing that he and his Green Lantern collaborator would reteam on “a new project later this year,” this morning Geoff Johns made it official: Artist Doug Mahnke will join him on Justice League of America.
The announcement arrives in a farewell message from the writer in today’s Green Lantern #20, which marks the end of a nine-year run that began with 2004′s Green Lantern: Rebirth. After praising artists Ethan Van Sciver, Ivan Reis and Joe Prado, Johns continues, “And Doug Mahnke … he’s the current superstar I work with every month on Green Lantern and have for years now. Doug, you’re one of the most amazing and unique artists in the business. Your power, grit and sense of wonder can be seen at its very best in Green Lantern #20. I’m fortunate to continue working with Doug as we head over to Justice League of America.”
“The run started with Hal and Sinestro and kind of continued that relationship, which only got stronger when Sinestro became a Green Lantern again and he and Hal were forced to team up. As I was building towards this next confrontation involving the land of the dead, Hal returning from the dead again and Sinestro and him having another change in their relationship, it just felt like the right time to go. Once I got through this next phase of Hal and Sinestro’s relationship and how it went all the way back to ‘Rebirth’ and then to this point, to me, that was the right time to move on. The story decided it. I think the last issue has a lot of stuff in it that puts an exclamation point on everything we did on the run. [...] [Hal has] sacrificed his life, and now he has to find his way back again. It started with a ‘Rebirth,’ it ends with a rebirth. It just felt right. Hal is a character who lives for the day and he’s so full of life, death can’t stop him. It was exactly the right storyline to go out on with him.”
– Geoff Johns, talking with Comic Book Resources about his nine-year run onGreen Lantern, which comes to an end Wednesday
Warner Bros. Television and the co-creators of Smallville have settled a multimillion-dollar dispute concerning profits from the long-running television series. The agreement was announced Monday during a status hearing, but Hollywood Esq. reports no paperwork has been signed.
Series creators and executive producers Miles Millar and Alfred Gough and series producers Tollin/Robbins Productions sued WBTV in 2010, accusing the company of licensing Smallville to its co-owned WB and CW networks “for unreasonably low” fees, thereby cutting the plaintiffs out of tens of millions of dollars.
The odds of a Justice League movie ever making it to theaters are probably about even at the moment and, if rumors are to be believed, largely dependent on the box-office performance of Zack Snyder’s Man of Steel. Thankfully, however, we won’t have to wait until 2015 or beyond to see Superman, Wonder Woman, Batman and Green Lantern together in live-action form.
Director/producer Andrew List has released a low-budget fan trailer for Kingdom Come, based on the acclaimed 1996 miniseries by Alex Ross and Mark Waid. (How low-budget? The project’s indiegogo campaign generated $5,617.) Sure, some of the acting and green-screen work — to say nothing of Superman’s Southern accent — are a bit suspect, but there are a few moments that look as if they were taken right out of the comic. Considering the budget, it’s kind of impressive.
In anticipation of the June 14 release of the new Superman movie, DC Entertainment has declared Wednesday, June 12, Man of Steel Day.
Sponsored by Sears, the event will see comic shops and bookstores give away copies of All-Star Superman Special Edition #1 by Grant Morrison and Frank Quitely. Not so coincidentally, June 12 also marks the debut of Superman Unchained, the new DC Comics series by Scott Snyder and Jim Lee launched to coincide with director Zack Snyder’s Man of Steel. That first issue you’ll have to pay $4.99 for (it comes with a two-sided poster).
DC Collectibles has unveiled four convention-exclusive products that will be offered only to those attending Comic-Con International, held July 18-21 in San Diego.
Fans of Cartoon Network’s DC Nation programming block may want to grab the three-pack of Super Best Friends Forever action figures (above), designed by Lauren Faust and sculpted by Irene Matar. Supergirl, Batgirl and Wonder Girl each stand 6.5 inches, 5.45 inches and 6.8 inches, respectively. The three-pack is priced at $49.95. Or, there’s the Aardman: Superman action figure, designed by Rich Webber and sculpted by Phil Ramirez. Standing at about 6.5 inches, it’s prices at $24.95.
Despite recent reports to the contrary, longtime Batman voice actor Kevin Conroy has confirmed he will return for the upcoming prequel video game Batman: Arkham Origins.
Batman News reports that while appearing over the weekend at Dallas Comic-Con, Conroy revealed he has been working on the game for the past nine or 10 months but has been prevented by a non-disclosure agreement from talking about the project.
“It’s an unbelievable game,” he told the crowd. “I still can’t say anything about it [...] but it’s amazing. It’s a huge, huge cast, and a big story, and it took almost a year to write and put together. They’ve been working on it for a long time.”
Update (8:21 a.m.): A Warner Bros. spokesman tells IGN.com that “Roger Craig Smith is confirmed as the voice of Batman and Troy Baker is confirmed as the voice of The Joker in Batman: Arkham Origins,” which could mean, as the site suggests, that Conroy is lending his voice for a framing sequence, playing another character entirely, or working on another Arkham game.
DC Comics’ August solicitations include both the end of “Trinity War” and of four series, including the latest Legion of Super-Heroes title. Otherwise, not much jumps out at me. Even the collected-edition section isn’t that diverse, as it’s heavy on “Death of the Family” books and pretty light on the vintage reprints.
NOT QUITE DEAD
If Talon weren’t a Bat-title, I’d say it was getting ready to be canceled. Issue 11′s solicitation refers to an “epic finale,” with Batman pitching in to help “eliminate the Court of Owls once and for all.” However, because so much work went into making the Court of Owls a credible threat to the Bat-clan, I doubt they’ll be eradicated completely. Likewise, I don’t think Talon is going anywhere, at least not yet.
Similarly, the continued existence of Batman Incorporated is one of the questions posed by the sure-to-be-epic conclusion of Grant Morrison’s Bat-work. In other words, is a revamped Club of Heroes so wrapped up with Morrison that it can’t survive without him? More to the point, is a Morrison-less Batman Inc. still marketable? Presumably the answer rests in the sales numbers for August’s Batman Incorporated Special — which, incidentally, appears to indicate just who among the various Inc.’ers survives the end of the regular series. I guess DC isn’t worried about spoiling such things, because it’s done something similar with the last couple months of Lantern Corps solicits.
It was jarring to me. I respected and loved the work of all of them. I also liked them all on a personal but individual basis. But when I saw what the comic book industry was doing to them, I think I liked it a little less. Those men all deserved better.
– Mark Evanier, commenting on the observation by Howard Chaykin that Gil Kane, Joe Kubert, Carmine Infantino and other DC artists “regarded each other with distaste, frequently bordering on genuine loathing.”
It’s stuff like this that brings home to me how screwed up the comics industry was for so many years. I understand on an intellectual level that things were bad, but hearing how it inspired jealousy and soured relationships puts it into an emotional context that I hadn’t felt before.
I’m not saying we have a utopia today, but creators do have more options if they want more than what they’re getting from work-for-hire. Creator-owned comics are not only more welcomed than ever by readers, but they’re also proving popular with people outside of comics, which can turn into real money. Again, I’m not saying we’ve reached the Promised Land yet, but I think it’s fair to say we’ve at least left Egypt.
I’m reading Glen Weldon‘s Superman: The Unauthorized Biography, and I’m still in the chapters on the Golden Age. What’s struck me was just how quickly Superman became a national phenomenon. Within a year of his first appearance in an anthology book (that he wouldn’t be on the cover of for another five issues after the first), there was a syndicated newspaper strip about him. According to Weldon, Time magazine called the character “the No. 1 juvenile vogue in the U.S.” Within two years, there was a radio show. Within three, Max Fleischer’s studio was making animated short films. And then there were all the dolls, games, puzzles, and coloring books. That was a stunning amount of success in a very short amount of time.
It’s always a great feeling when you find good comics in a place you weren’t suspecting. But as a reader, fan and journalist, I was surprised at how good the DC Comics digital titles are. But why? DC has put out great books, and continues to do so now with some of its New 52 line-up; I was also a big fan of the publisher’s previous digital-first endeavors with Zuda. Why then is it so surprising that the current crop of DC Digital is good? Then I figured it out.
First, a primer: Launched in early 2012, the DC Digital titles premiere online with weekly installments and are later collected in print. Originally consisting of just two series, Batman Beyond Unlimited and Smallville: Season 11 (both coincidentally continuations of canceled television shows), the line expanded in the fall with the anthology-style Legends of the Dark Knight, companions to the TV drama Arrow and the video game Injustice: Gods Amongst Us, and Batman: Li’l Gotham. The imprint’s most recent addition is an anthology called Adventures of Superman.