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Less than three weeks after the final issue of DC Comics’ The Green Team: Teen Trillionaires arrived in stores, Gail Simone has announced the cancellation of its companion series The Movement with May’s Issue 12.
Unfortunately, this book just never found a big enough audience,” the writer posted Sunday on her blog. “The people who loved it, loved it hard, but that number was too small. I am bummed about it, we wanted to do a book that didn’t read or look like anything else out there, and I think we accomplished that. I take the responsibility, I think it took a little while for people to really adopt the characters, which was a conscious choice but also a risky one in this very cautious market where people have to be extra careful of which books they choose.”
Launched in May 2013, The Movement and The Green Team were a look at the 1 percent and the 99 percent, the haves and have-nots, in the DC Universe: While The Green Team, by Art Baltazar, Franco and Ig Guara, centered on teens who used their wealth to purchase power — and super powers — Simone and Freddie E. Williams II’s The Movement focused on another group of teens who used their abilities to fight corruption in Corral City.
“Whenever a book is cancelled, people often get mad at the publisher — it’s understandable, but in this case, we received nothing but support from DC,” Simone wrote. “They knew it was a dicey prospect, a book not set in Gotham or Metropolis with no known heroes, and an unusual core theme. They knew it was a bit risky commercially and they did it anyway, and they let us run out to twelve issues to finish it properly, when almost any other publisher would have cut it earlier on.”
Stage | Dancer Daniel Curry, who was seriously injured during an Aug. 15 performance of the Broadway musical Spider-Man: Turn Off the Dark, made his first appearance since the accident at a benefit concert held Monday that raised $10,000 for his medical bills. Curry was injured when his leg was pinned by an automated trap door — he blames malfunctioning equipment, producers say it was human error — resulting in fractured legs and a fractured foot; he has undergone surgeries and unspecified amputations. The Occupational Safety and Health Administration and Actors’ Equity have launched investigations into the accident, and Curry’s lawyers are exploring a possible lawsuit against the $75 million show and the equipment suppliers.
During previews of Spider-Man: Turn Off the Dark — before the March 2011 firing of director Julie Taymor and the sweeping overhaul that followed — no fewer than five performers were injured, the most serious previously being aerialist Christopher Tierney, who fell about 30 feet in December 2010, breaking four ribs and fracturing three vertebrae. He returned to rehearsals four months later. There have been no major accidents since the show opened in June 2011. [The New York Times]
Digital comics | IDW Publishing released its first batch of digital comics on the motion-comics platform Madefire this week. The selection includes partially animated My Little Pony, Star Trek and Transformers comics, which sell for $1.99 each. Jeff Webber, IDW’s vice president of digital publishing, noted that because Madefire has a partnership with DeviantArt, the books are being exposed to “an incredibly broad network of illustration fans.” To commemorate My Little Pony’s Madefire debut, Dave Gibbons drew the image at right “to show that Friendship IS Magic!” `[Publishers Weekly]
Passings | Cartoonist Jack Matsuoka, who chronicled life in the Poston, Arizona, internment camp in his book Camp II, Block 211, has died at the age of 87. , Born in the United States to Japanese parents, Matsuoka was a teenager when his family was sent to internment camps in Salinas, California, and then Poston. After leaving the camp he was drafted and served as an interpreter for the U.S. Army in occupied Japan. He went to college on the G.I. Bill and worked as an illustrator and cartoonist for many years. Camp II, Block 211 was based on sketches he did while living in the camps and set aside for many years; his mother found them and encouraged him to share them with the public. They were put on exhibit in San Francisco and then collected into the book, which was first published in 1974. A revised edition was released in 2003. [The Rafu Shimpo]
In the very first panel of The Movement #1 there’s a blonde in black leather and fishnets. Her strong resemblance to old-school Black Canary seems designed deliberately to remind readers of writer Gail Simone’s previous DC Comics work. However, there’s nothing straightforward — at least not yet — about this new series. Simone’s script is a maze of upended expectations, and Freddie Williams’ art likewise seems made up of unsettled lines. The overall effect is disorienting, which might not be the best way to begin a from-scratch series like this one. But The Movement #1 works well as the first chapter of what will hopefully be a long run.
On the heels of Thursday’s wave of cancellations, DC Comics has announced two new politically themed series from creators Gail Simone and Freddie Williams II, and Art Baltazar, Franco and Ig Guara.
Debuting in May, the companion titles The Movement and The Green Team bring into the DC Universe the economic issues that propelled the Occupy movement and dominated much of the 2012 presidential election. In short, they’re a look at the 1 percent and the 99 percent — the haves and the have nots — in a world populated by superheroes.
“The Movement is an idea I’ve had for some time,” Simone tells The Huffington Post. “It’s a book about power — who owns it, who uses it, who suffers from its abuse. As we increasingly move to an age where information is currency, you get these situations where a single viral video can cost a previously unassailable corporation billions, or can upset the power balance of entire governments. And because the sources of that information are so dispersed and nameless, it’s nearly impossible to shut it all down. […] The previous generations of superheroes were not created to address this, it’s a legitimately new frontier, both for the real world and for storytellers. ”