EXCL. PREVIEW: Crystal Wrangles NuHumans in "All-New Inhumans" #1
Have you ever gotten the Frozen Smile? The eyes say “I have no idea how to respond” while the mouth still thinks everything’s fine?
I got it the other day while talking to a co-worker about Teen Titans Go!. She loves it as much as her kids do, and my daughter loves it as well. I then mentioned that I haven’t had as much of a chance to see it, but I do have all the DVDs from the 2003-06 Teen Titans series. That brought things to a halt. When I mentioned the earlier show, it was evidently like saying I’d read the scripts in the original Klingon, because her face froze after that and she got out only an “Uh-huh….”
Today I’m going to talk about some of DC’s just-announced 2016 miniseries, and Raven in particular, because once again I suspect a lot of potential readers may be giving DC the ol’ frozen smile.
* * *
Gerry Conway has written more comics than I care to count, including career-defining runs on The Amazing Spider-Man and Justice League of America. During his tenure at DC Comics in the 1970s and ‘80s, he co-created Firestorm, Steel the Indestructible Man, Vixen and Vibe (among many others). He wrote the first relaunch of New Gods and helped craft the Robin-to-Nightwing transition. Recently, he’s been calling attention to the use of “derivative” comics characters in other media — for example, the Flash TV show’s Caitlin Snow, who shares a name, a scientific background, and a Firestorm connection with the most recent version of Killer Frost’s alter ego.
DC responded to Conway’s concerns with assurances of fair compensation, but the matter also goes to the heart of the publisher’s shared universe.
As the new year is still fairly new, it’s time once again to revisit some old speculation, and offer a fresh batch.
2015 promises to be an unusual year for DC Comics, thanks to a couple of well-publicized real-world events: moving its offices from New York to California, and publishing two months’ worth of retro-themed comics while the regular series take a break. Although I’m getting tired of writing about these things, they will continue to dominate DC news for the next little while. Accordingly, counterintuitive though it may be, this week I’m going to resist talking about them as much as possible. You know they’re coming, I know they’re coming; but let’s try to find some other topics in the meantime.
Now to catch up on 2014’s items:
1. Anniversaries. Besides Batman’s 75th, which naturally got lots of play, I noted that last year was the 50th anniversary of the Teen Titans, the 55th of the Silver Age Green Lantern, Nightwing’s 30th, Zero Hour’s 20th and Identity Crisis’ 10th. The Titans got a commemorative hardcover and IC likewise received a new edition. However, Nightwing-the-series ended in 2014, as Nightwing-the-identity was exposed and Dick Grayson got a new spy-oriented comic. I also wondered whether the 50th anniversary of Batman’s “New Look” would get some special attention (it didn’t, unless you count the flood of Batman ‘66 love that accompanied the long-awaited home video releases of the New Look-inspired series).
Continue Reading »
In April, DC Comics released solicitations for its July titles alongside an extra batch of advance listings for the September Futures End-related one-shots. This week, in a move that’s perhaps unintentionally similar, the publisher’s February solicits arrive amid advance info about the spring’s Convergence tie-ins.
The scheduling gap isn’t quite as great — only a couple of months here, as opposed to five months last time — and I can understand why DC would want to avoid a lot of negative fan speculation about Convergence. Still, it steals some thunder from the current batch of solicitations, which try to compensate with a raft of Harley Quinn variant covers (including, strangely enough, one for Harley Quinn itself). In addition to her own series and Suicide Squad, Harl also gets a Valentine’s Day Special, another hardcover collection, a statue, an action figure, and a guest-shot in Deathstroke. At this rate I’m expecting her to be Wonder Woman’s new Amazon queen.
Continue Reading »
We’re just now into the back half of October and it’s already been a busy month for DC Comics’ television and movie adaptations. Gotham got under way, The Flash debuted and Arrow has returned, with Constantine on deck. Meanwhile, Warner Bros. announced a massive slate of Justice League-related movies, stretching from 2016’s Batman v Superman to 2020’s Cyborg.
However, the adaptation pipeline has the potential to flow in two directions. Between Caitlin Snow’s potential Killer Frost, the second episode’s Multiplex and the promise of both Ronnie Raymond and Martin Stein, the new Flash show seems pretty intent on bringing in a good bit of Firestorm lore. If DC executives hadn’t already been thinking about yet another Firestorm comic revival, The Flash’s immediate success may well encourage them to. Similarly, of all the movies Warner Bros. apparently intends to make over the next six years, the only one without a solid comics presence is Cyborg.
Therefore, today we’ll look at these two creations of the late ‘70s/early ‘80s, to see what DC might do with their four-color futures.
Some months the solicitations don’t inspire much in the way of analysis. The superhero serials just sort of chug along, and maybe there’ll be an unusual creative team or an idiosyncratic collection to enliven things. Not so with DC’s October solicitations, which include a number of new series, storylines, and creative changes.
This next bit will sound conspiratorial, but I don’t think it’s an unreasonable supposition. I believe — or at least I would not be surprised to learn — that all these debuts and changes are starting in October because that will give them at least six issues to resolve themselves before the big springtime move to the West Coast. For example, six issues is pretty much the minimum for a collection, so if any of the new series just drop immediately into the sales cellar (I’m looking at you, Klarion; say hi to GI Zombie), DC can still have enough for a trade paperback. That’s not to say a reboot is inevitable next spring — notwithstanding one panel in Robin Rising that should jump-start such talk — but I could see a good bit of the superhero line taking a potential victory lap over the fall and winter. (Apparently I am not alone in thinking this.)
This past week (ish), DC Entertainment was so pervasive in the television upfronts, it almost made me forget the company still publishes comics. Joining Arrow on the 2014/2015 TV schedule will be adaptations of The Flash, iZombie and Constantine, as well as the Bat-prequel Gotham. (And hey, that was Caity “Black Canary” Lotz reprising her role as Don’s pregnant-hippie “niece” on Sunday’s Mad Men!) Moreover, we’ve now seen a moody black-and-white photo of Ben Affleck as Batman, standing next to his new Batmobile and ready to dominate the next Superman movie; and The CW has shown us a nifty little clip of the Flash in action.
While I’m prepared to like all of these shows, and certainly willing to give them reasonable opportunities to succeed, once again they remind me that no comic — and certainly no superhero comic — can be adapted to live-action with complete fidelity. Indeed, by taking its cue directly from the comics of the ‘40s and ‘50s, the old Adam West/Burt Ward Batman show was one of the more faithful projects. Likewise, the pilot of the Lynda Carter Wonder Woman series didn’t go too far from Diana’s earliest adventures in All Star Comics #8 and Sensation Comics #1. However, I don’t think that approach would work these days.
Of the three weekly series DC Comics is releasing this year, Futures End is arguably the most “important.” It spans the entire superhero line, bridges the gap between Forever Evil and 2015’s Big Event, and promises to change the New 52 irrevocably.
None of that apparently is deemed sufficient to attract new readers, because Futures End’s preview issue kicks off with 20 pages of your favorite characters either turned into, or slaughtered by, giant killer spider-bots.
To be fair, maybe the folks behind FE wanted to attract those readers already interested in a certain other let’s-prevent-the-robot-holocaust storyline from their crosstown rivals. But it’s not just X-Men: Days of Future Past, The Terminator or even Star Trek: First Contact (where you can hear the Borg Queen gloat “Watch your future’s end”) that Futures End echoes. Just off the top of my head, evil and/or assimilated versions of our heroes appeared in Final Crisis (remember Wonder Woman’s Female Furies?), in the Swamp Thing/Animal Man crossover “Rotworld” — which, by the way, I seem to be alone in liking — and in Flashpoint’s dog-eat-dog timeline. A future ruled by OMACs was also part of the Justice League: Generation Lost miniseries. Back in the day, “changing the bad future” was the plot of 1991’s summer crossover Armageddon 2001 and the unrelated JLA arc “Rock of Ages,” and 1992’s Eclipso: The Darkness Within featured “heroes turned bad.”
Continuing the theme of the previous post, Great Pacific writer Joe Harris pulls back on the curtain to reveal what might have been had DC Comics not canceled The Fury of Firestorm: The Nuclear Men earlier this year.
On his blog, Harris, who came on board the series as co-writer with Issue 7, touches upon some of his ideas that never made their way into the book — “Things got changed around a bit, and I had to do a lot of rewriting to fit shifting plans, sudden crossovers, and other changes made on high, so much of this stuff never saw the light of day” — before breaking out something truly impressive: the “mindmap.”
You can check it out for yourself at the link, but it’s effectively a flow chart that lays out his vision for “Firestorm Year Two & Beyond,” with color-coded plot threads. I’m a habitual list- and chart-maker, so I was instantly drawn in by Harris’ dedication to planning and detail.
However, the writer notes, “Honestly, this map, while big, is conservative for me. You should see the master sheet I keep together for X-Files ideas!”
As with Cullen Bunn’s exploration of the development of The Fearless Defenders, Harris’ post and accompanying chart makes for interesting reading for fans and process junkies alike.
With the end of Geoff Johns’ tenure on Green Lantern and Grant Morrison’s upcoming farewell to Batman, a fan’s thoughts turn naturally to other extended runs. Marv Wolfman wrote almost every issue of New (Teen) Titans from the title’s 1980 preview through its final issue in 1995. Cary Bates wrote The Flash fairly steadily from May 1971’s Issue 206 through October 1985’s first farewell to Barry Allen (Issue 350). Gerry Conway was Justice League of America’s regular writer for over seven years, taking only a few breaks from February 1978’s Issue 151 through October 1986’s Issue 255.
However, in these days of shorter stays, I wanted to examine some of the runs that, despite their abbreviated nature, left lasting impressions. At first this might sound rather simple. After all, there are plenty of influential miniseries-within-series, like “Batman: Year One” or “Whatever Happened to the Man of Tomorrow?,” where a special creative team comes in to tell a particular story. Instead, sometimes a series’ regular creative team will burn brightly, but just too quickly, leaving behind a longing for what might have been.
A good example of this is found in Detective Comics #469-76, written by Steve Englehart, penciled by Marshall Rogers and inked by Terry Austin (after Walt Simonson penciled and Al Milgrom inked issues 469-70). Reprinted in the out-of-print Batman: Strange Apparitions paperback, and more recently (sans Simonson/Milgrom) in the hardcover Legends of the Dark Knight: Marshall Rogers, these issues introduced Silver St. Cloud, Rupert Thorne, Dr. Phosphorus and the “Laughing Fish,” featured classic interpretations of Hugo Strange, the Penguin and the Joker, and revamped Deadshot into the high-tech assassin he remains today. Tying all these threads together is Bruce Wayne’s romance with Silver, which for my money is the Bat-books’ version of Casablanca. It’s the kind of much-discussed run that seems like it should have been longer. Indeed, I suspect it’s one of the shorter runs in CSBG’s Top 100 list.
Continue Reading »
Occasionally I talk about how perfunctory the monthly solicitation ritual can be … but not so for April!
On the same day the solicitations were released, Comic Book Resources launched its new “B&B” column, featuring editors Bob Harras and Bobbie Chase, and chock-full o’ factoids about various books. Moreover, the solicits were themselves packed with new story arcs, new creative teams, and an even more heightened feeling of coyness.
A big part of this coyness comes from April’s cover gimmick. Actually, we readers can only see half of the gimmick — because while every New 52 book will sport a fold-out cover, the solicits only show the left side. (Makes me wish there were a retailers-only edition of Previews, as this is just the kind of thing which surely irritates them.) To add to the anticipation, every New 52 solicitation ends with a question. Accordingly, this month more than usual, the solicits are structured precisely to set up dire consequences and leave them unresolved. Suspenseful!
Ah, but that sort of thing only encourages me. Let’s dive in, shall we?
Continue Reading »
Travis Clevinger, the lead character in Dan Jolley’s Bloodhound, is a convicted murderer with no superpowers who is released from prison at the request of the FBI so he can track down a serial killer. First published in 2004 by DC Comics, the DC Universe series, which featured art by Leonard Kirk and Robin Riggs, received good reviews but never quite found its audience and was never collected. That is, until now.
Bloodhound has found a new home at Dark Horse, which in June will publish issues 1-4 and 6-10 as a collected edition, titled Bloodhound, Vol. 1: Brass Knuckle Psychology, with 198 pages of comics plus an introduction by Kurt Busiek, an afterword by Ivan Cohen, and standalone art by Jamal Igle, Mike Norton, Tim Seeley and others. Where is Issue 5? Read our exclusive interview with Jolley to find out, and to get the backstory on Bloodhound.
Robot 6: Since it’s been a while, can you refresh us about what Bloodhound is about?
Dan Jolley: Bloodhound is about Travis “Clev” Clevenger, a huge, brutal, ex-Atlanta police detective who specializes in tracking down superhuman criminals. Clev had the city’s best record for finding and dealing with superhumans, thanks to a knack for understanding their thought processes. Unfortunately, he had also been having an on-again-off-again affair with his partner Vince’s wife, Trish, for a number of years, and when Vince found out, he attacked Clev with a crowbar. Clev killed Vince and got sentenced to prison.
Here in Memphis this week, September finally turned the corner into fall. High temperatures are mostly in the 70s, the air is getting crisper, and the sky is turning a paler blue. Unlike July or August, when October and November seem far in the future, a nice September makes December that much easier to imagine.
In September you start to settle into the routine which will take you through the winter — and that’s apparently true as well for the New 52 superhero books. Let’s get on with it, shall we?
MOVERS AND SHAKERS
Ivan Reis and Joe Prado head to Justice League with December’s Issue 15, and I for one am happy. Although I like Jim Lee fine, I think Reis is better-suited to big, multiple-character action. It’s hard for me to explain the distinction, so consider this: How would “Sinestro Corps” or Blackest Night have looked if Lee had drawn them? Reis manages crowds quite well, and Justice League should be crowded.
Also, while I’ve been rather down on Justice League of late, the expanded roster (teased over a year ago) and the Atlantis-centered storyline make me optimistic that the book is … well, doing what I’d like it to do, which is being a showcase for, and gateway to, the larger superhero universe. So, well done, solicitation!
College basketball season starts back up in November, so that makes thinking about bracketology only a little less premature. Looking at the various discrete (and, occasionally, indirect) crossovers happening throughout November’s New 52 solicitations, I couldn’t help but picture the field of 68, with each individual game a step along the way to … “Trinity War,” I guess …?
Green Lantern’s “Rise of the Third Army” occupies the four GL titles, of course, but it also brings in Justice League, where the solicit for issue #14 wonders where Hal is. (After reading this week’s GL #12, I have a better idea about that.) Likewise, GL #14 guest-stars the League.
From the solicits I wonder if “ROT3A” takes place mainly in GL (with a little JL on the side). “Night of the Owls” was advertised that way (you only need to read Batman, because the other Bat-books dealt with ancillary stories) and it kind-of fits with the way the New-52 books have hyped their creative teams. Johns, Scott Snyder, and Jeff Lemire are responsible for a total of seven books (GL, JL, Aquaman, Batman, Swamp Thing, Animal Man, JL Dark), and each writer has at least one book in some sort of crossover this month.
This post is about world-building. Ideally (and at the risk of being too cute), world-building would be what you made of it. The notion of a shared superhero universe implies a certain level of consistency, which at best offers a rich, textured backdrop and at worst becomes a tangled thicket of details. Naturally, each reader’s level of involvement will vary, and these days readers have quite a few options. Today I’m trying to sketch a general picture of how those options affect the stories themselves, and vice versa.
* * *
Over the years — over the decades, really — it has been suggested that I read too many comic books. These concerns are not insignificant, and over the decades I have tried to deal with them appropriately.
However, while talking about DC’s Big Events with a friend on the way to the movies, I got a new perspective on the way these stories are received. Basically, my friend had seen Identity Crisis on a list of all-time worst comics and wanted my thoughts, because he had enjoyed it. Similarly, he liked Blackest Night not so much for the nonstop carnage, but for the sense that there were consequences.