Soule Finds a Weakness in the Afterlife, Discusses Surprise "Inhuman" Return
Even superheroes need to go to the doctor once in a while. And in an inventive advertising campaign from stock photography agency Shutterstock, they’re prescribed a host of medicinal cures.
Created with illustrator Ryan Quickfall, Shutterstock’s RxMen offers treatment for “comically exaggerated ailments” some heroes might experience. From Cerebrex migraine meds for Professor X to Purple Smash mood-swing remedies for the Hulk to Noiroprine insomnia spray for Batman, there’s something for just about any super-sufferer. If symptoms persist, please consult Night Nurse.
[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]
Mash-up parody movie trailer may be one of my biggest guilty pleasures. Back in the day when it was novel, I loved watching videos of Mary Poppins as a horror movie or the 1966 Batman movie as a modern day action extravanganza. I learned to appreciate parody trailers thanks to Jim Emerson, a blogger at RogerEbert.com, who once cited the “Shining” parody trailer (which turned the psychological horror film into a sappy family movie) as an example of the fine art of film editing. The whole movie parody trailer craze may have fallen in and out of favor with the fickle whims of the internet audience, but I personally have never stopped loving them.
Not a lot in DC Comics’ May solicitations really strikes me as “new.” That’s due partly to a lot of the new books being set to launch a month earlier. Generally, the superhero line continues to contract, while The New 52 — Futures End kicks off, the New 52 version of Doomsday keeps rampaging through the Superman titles, and Batman Eternal rolls on. Nevertheless, I do have the irrational sense that the line is gearing up for something even more significant, and will be adding new series over the next few months.
Still, if we’re to get excited about the regular fare, we may have to read between the solicitations’ lines — so let’s get on with it, shall we?
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A NEW 52 FOR THE NEW 52
And here it is, Futures End. Last year I wrote the New 52 needed its own version of 52, the year-long miniseries that spanned time and space to focus on the lesser lights of the superhero line. I talked about exploring the geography of the still-new shared universe, doing character studies, and essentially giving the reader a good sense of place and/or connection.
The comic book annual has, in recent years, become an endangered species. Once an oversized, extra-length dose of the characters and concepts a reader could count on appearing once a year (or, you know, annually), the changing funny-book landscape has made them a less appealing proposition.
The rise of the graphic novel and trade paperback collections made “novel-length” adventures appearing in actual, off-the-rack comic books somewhat obsolete. The rising price of comics helped make annuals seem less practical; if a 20- or 22-page comic costs $2.99 or $3.99, a 48- or 56- or 64-page one would be prohibitively expensive. And with the shrunken market, it doesn’t make sense for a publisher to release an additional, extra-long issue of almost every title in its line.
Hello and welcome to Shelf Porn, where fans share their collections with the rest of the world. Today’s shelves come from Jesse in New York, who shares his collection of comics, graphic novels, original art and a “dash” of Flash merchandise.
If you’d like to see your collection here on Shelf Porn, check out all the details on how to make that happen.
One of the most symbolic moments of Superman is when he changes from his guise as Clark Kent to become the Man of Steel. The idea that the wearing of a costume imbues some kind of unquantifiable power is a key part of what makes superhero comics work; otherwise, they’d just be adventurers and action heroes.
But speaking of change, changes in superhero costumes have become as much a part of the comics as the heroes themselves. From Superman’s early days with his golden emblem to the modern “S” today and on through to other years (including Batman’s countless wardrobe changes), the design of a superhero isn’t static and a redesign has proved, many times, to be just the thing to make a character work.
In this week’s “Six by 6,” I pinpoint six of the most dynamic and powerful redesigns in superhero comics. Redesigns that saved a character from obscurity, put them in a new light or simply simplified what was already there.
The first collected volume of the New 52 era of The Flash has hit shelves, and on its blog, DC Comics is showcasing rough layouts by artist and co-writer Francis Manapul. And they’re gorgeous.
In comic stores now (and in bookstores later this month), The Flash, Vol. 1: Move Forward collects the first eight issues of the run by Manapul and co-writer/colorist Brian Buccellato and doesn’t spare on the the extra features, with an inside look at layouts and sketches done by Manapul — some of which are being rolled out on DC’s blog (and below).
In the new wave of creators and runs from the New 52 relaunch, Manapul’s work on The Flash has been a standout for both its art and writing. As most of DC’s marketing is geared toward writers and story developments, it’s a welcome change to see the publisher leaning so heavily on the artistic component.
After years in the industry, Manapul seemed to come of age at DC, first with his work on the Superboy story inside Adventure Comics with writer Geoff Johns, then on the Flash title with Johns, and now on the New 52 Flash title. Much in the way Scott Snyder has become one of DC’s top writers, Manapul is emerging as one of the publisher’s leading artists.
Getting back to the subject of these excellent layouts, DC promises to post more on its blog later this week.
[Note: all this was written before I read any of this week’s comics.]
As mentioned last week, part of this look back at my New 52 reading is the chance to see where I might drop some titles. Not that I want to be negative unnecessarily, but it’s always good to make sure you really like what you buy. While I do buy some books “just because,” it’s very easy simply to fall into the habit of reading the same things month in and month out, neither looking forward to them nor missing them when they’re gone.
Therefore, let’s push through some bad vibes and talk about a couple of books I let drift away. Besides Superboy (covered last week), there was Red Lanterns (written by Peter Milligan, penciled by Ed Benes) and Grifter (written by Nathan Edmondson, penciled by CAFU). Originally I liked Red Lanterns because I thought it had recast Atrocitus as a distracted middle-management type, questioning his place in the universe while his functionaries went down their own demented paths. However, as the months went by the series never really built up any momentum, and for a premise based around the blood-spewing power of RAGE!!!1!! that’s not so good. Much the same applies to Grifter: thought it had potential, but it didn’t hold my interest.
Tomorrow DC Comics releases the second of the new reader-friendly “Earth One” graphic novels, Batman: Earth One. Originally announced in 2009, this second graphic novel is just hours away from release, and people are already looking toward the line, and this title’s, future. DC has already announced that J. Michael Straczynski and Shane Davis have a sequel to Superman: Earth One due out Nov. 6, and Geoff Johns let slip that he was already writing a Batman: Earth One sequel in an interview posted on Entertainment Weekly‘s website. With those two balls in the air, and DC actively looking to expand their roster of mainstream-friendly characters, I thought I’d give some unsolicited advice on what they should consider next for the “Earth One” line.
Hello and welcome to What Are You Reading?, where each week we detail what comics and other stuff have been on our reading piles. Our special guest today is David Harper, associate editor over at the recently redesigned Multiversity Comics.
To see what David and the Robot 6 crew have been reading, click below.
Hello and welcome to What Are You Reading? Today our special guest is Tim Seeley, whose work you may know from Hack/Slash, Bloodstrike, Witchblade, Colt Noble, the upcoming Ex Sanguine and Revival, and much more.
To see what Tim has been reading lately, click below.
Creators | Ahead of the premiere of the documentary With Great Power: The Stan Lee Story, the 89-year-old Lee discusses the big-screen success of his co-creations, the fairy-tale appeal of superheroes, his favorite character (he doesn’t have one), and a time when he was embarrassed to admit he wrote comic books: “Oh well, in the beginning, comics were the lowest rung on the cultural totem pole. I’d go to a party and people would say ‘What do you do?’ ‘Um, uh, I’m a writer’ and I’d try to walk away. And the guy would follow. ‘What do you write?’ ‘Oh, er, stories for kids.’ Well finally he’d pin me down and I’d say, ‘Okay, I write comic books’ — and boy, he couldn’t get away fast enough. Now, though, I walk into a party and someone sees me and they say, ‘Sorry, excuse me a minute, President Obama, I have to go over and say hello to Stan Lee.’ Well, okay. Slight exaggeration on my part.” [The Star-Ledger]
Conventions | The Calgary Sun previews this weekend’s Calgary Comic & Entertainment Expo. [Calgary Sun]
Conventions | Jimmy Jay wonders whether Comic-Con International in San Diego could expand to two weekends, like the Coachella Music Fest. [ComicConMen]
The great strength of DC’s superhero line is its heterogeneity — that is, its history of bringing together different genre-based roots and different storytelling approaches. However, as the shared-universe model came to dominate superhero serials, DC’s various high sheriffs have tried to impose various kinds of order on these disparate perspectives. Starting in the Silver Age, the infinite Multiverse organized characters broadly, for example by generation (Earth-Two), publisher (Earth-X, Earth-S, Earth-Four), or special category (the Crime Syndicate’s Earth-Three, the Zoo Crew’s Earth-C). Crisis On Infinite Earths consolidated a lot of that, The Kingdom’s Hypertime sought unsuccessfully to reincorporate it, and 52 compromised with a scaled-back set of parallel Earths. Today, the New-52 setup still has a Multiverse, but the main DC-Earth has scaled back its superheroic history dramatically.
Details aside, though, each of these cosmological structures is an attempt to bring some deeper meaning to DC’s superhero line. Put simply, for a long time DC’s superhero books weren’t about something, whereas Marvel presented a “world outside your window” in which superpowers came with their own sets of problems. Thus, from the post-Crisis 1980s until the end of Flashpoint last summer, DC was arguably “about” superheroic legacies, and had no small success putting new faces with old names.
And again, those details are not especially germane to today’s post. Instead, I want to talk about the nature of DC’s various traditions, the extent to which those traditions should guide the publisher, and whether DC’s superhero books can, collectively, ever really be “about” anything.
Have you heard? Some maniacal super villain has kidnapped the Justice League and turned them into… tater tots? Don’t worry, super friends, it’s all part of a unique promotion DC is doing with the fast food chain Sonic Drive-In.
Available “for a limited time only” with purchase of one of Sonic’s Wacky Pack Kids’ Meals, these “Super Tots” come in 10 varieties: Superman, Clark Kent, Wonder Woman, Martian Manhunter, Flash, Hawkgirl, Aquaman, Supergirl, Bizarro, and Plastic Man. Batman and Green Lantern are conspicuously absent, but I’d chalk that up to the adult world of licensing agreements and what not given their recent movies.
This isn’t the first time comic heroes have shown up in fast food kids meals, but it’s arguably one of the most deliciously cute ones in recent memory. Check out all the little guys after the jump, courtesy of Sonic.
Publishing | Three million-dollar Kickstarter drives, including Rich Burlew’s $1.2 million campaign for The Order of the Stick, make the fund-raising site look like a pot of gold to some folks, but it’s not that easy: Suw Charman-Anderson, who;s contemplating a Kickstarter drive herself, looks at the factors that make the big money-makers so successful. [Forbes]
Editorial cartoons | The New York Times has responded to Daryl Cagle’s criticism of its hiring policy and fees for editorial cartoonists, saying the newspaper will delay bringing political cartoons back to its Sunday review section until editors have had time to revisit their policies. [The Cagle Post]
Editorial cartoons | For those who want a look at the bigger picture, Columbia Journalism Review surveys the landscape of editorial cartooning and in particular, the economics of syndication. [Columbia Journalism Review]