Futures End Archives - Robot 6 @ Comic Book Resources
Do you like Batman? Sure, everyone loves Batman, which is what makes this new series Earth 2: World’s End so great. It’s got Batman in it! Well, not Batman so much as Batman’s dad. And not the “real” Batman’s dad, but an alternate dimension’s Batman’s dad … who has taken over for his son as Batman II. So, it stars a legacy version of an alternate version of Batman.
That’s one aspect of World’s End, which joins Batman Eternal and The New 52: Futures End on DC’s slate of ongoing weeklies, that I found particularly striking.
Last week I laid out a lot of numbers and background on the distribution of character-oriented franchises in the New 52. (Along the way I got confused about the New 52 version of G.I. Combat; it was canceled after Issue 7, but its zero issue brought its total to eight.)
Accordingly, this week discusses whether the New 52 needs to get back up to its eponymous number of titles, or whether a smaller stable of ongoing series is a more sustainable environment. We’ll get into some other concerns as well, but the overarching question — as DC transforms its biggest franchise, the Bat-books — involves how the publisher chooses to allocate its resources.
(Because I forgot to do it directly last week, I want to acknowledge my debt to Dave Carter, who started me thinking about all this when he charted New 52 longevity in January and who, providentially, has just started listing DC rosters of Augusts past.)
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Note: This week’s post, and probably next week’s, get pretty number-heavy. Also, this week’s post contains a lot of history and background data. I have tried to make it all entertaining, but consider yourselves warned. Either way, there’s still the Futures Index.
Starting this week, the Batman line gets a makeover. Gotham Academy, from writers Becky Cloonan and Brenden Fletcher and artist Karl Kerschl, is a delightfully spry addition to the Bat-landscape. Amid a franchise dominated (not unreasonably) by stylized, unflinching urban avenging, GA’s unique perspective is both welcome and necessary. Waiting in the wings are new Batgirl and Catwoman creative teams, as well as new titles Arkham Manor and Gotham After Midnight. (The three new books apparently take the places of Batman: The Dark Knight, Batwing and Birds of Prey.)
All look promising, and each offers a new look at a seldom-seen aspect of the Batman mythology. Moreover, it’s vitally important for DC to reach out to a diverse audience, particularly one that may have felt underappreciated over the past few years.
However, all this innovation comes at a time when the in-name-only New 52 has been stuck for a while at around 40-odd series. Only 21 of the original 52 ongoings are still being published, although books like Teen Titans, Suicide Squad and Deathstroke have been relaunched with new volumes. Similarly, we might view Grayson and Justice League United as continuations of Nightwing and the New-52 version of Justice League of America.
The sprawling intertitle crossover “Doomed” wrapped up this week with the release of Superman: Doomed #2. It’s a 40-page installment produced by writers Greg Pak and Charles Soule and artists Ken Lashley, Szymon Kudranski, Cory Smith, Dave Bullock, Jack Herbert, Ian Churchill, Aaron Kuder Vicente Cifuentes, and Norm Rapmund (assisted ably by colorist Wil Quintana and letterer Taylor Esposito). However, it’s getting some attention due to the final page.
Yes, “Doomed” began as a sequel to an as-yet-unseen event — the New 52 version of the monster’s first deadly battle with Superman — but it’s ended, like many a crossover before it, as a tease for the next big thing. Moreover, it’s joined by the only Futures End special one-shot without its own series (yet); namely, Futures End: Booster Gold.
Accordingly, today’s all about how everything might start to make sense, and how it doesn’t quite make sense for DC to go that way.
SPOILERS FOLLOW for the finale of “Doomed” and for Booster Gold.
In the fullness of time, all things come to an end: Futures, worlds, even month-long publishing initiatives. And so Wednesday brought with it the final batch of Futures End specials from DC Comics.
Of this week’s 10 releases, I read four, and I was pleasantly surprised to find that most of those were pretty good … and at least two of them even tied in to the events of The New 52: Futures End, the weekly series that nominally gives the one-shots a reason to exist.
Heck, one of them tied in to the series, which saw the release of its 21st issue this week, strongly and directly enough that I wouldn’t be surprised if it turned up in one of the eventual trade collections of Futures End.
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There’s a lot to like in DC Comics’ December solicitations, most of it due to the return of some old friends and the uber-nostalgic glimpses at a traditional status quo. It’s not like the New 52’s changes are being rolled back — I have no illusions about that, and I’m not sure how it would work if it did happen — but DC is always best served when it can channel the familiar aspects of its past in vibrant new forms.
THERE YOU GO AGAIN
I am starting to think Secret Six is the comic Gail Simone was born to write, even more so than Birds of Prey. There’s always been a dark undercurrent running through her DC work, from BOP to Batgirl to The Movement, but only with the Sixers could she really cut loose. Indeed, as much as I enjoyed Scandal, Bane, Deadshot and the rest, I’m eager to see what she can do with six cryptically united strangers, most of whom will probably be new to us.
Those who believe the traditional, pre-New 52 DC Universe is still out there, somewhere in the Multiverse, can reasonably hang their collective hat on the return of the Keith Giffen/J.M. DeMatteis Blue Beetle and Booster Gold in Justice League 3000 #12. I’d go even further, and say this version of Beetle and Booster probably follows directly from the two “Super Buddies” arcs that Giffen, DeMatteis and Kevin Maguire produced in the mid-2000s. The second one, I Can’t Believe It’s Not the Justice League, ended rather pointedly with Beetle and Max Lord sharing a happy moment. That, of course, stood in stark contrast to the Countdown to Infinite Crisis special, in which Max shot Beetle in the head, and then (a few months later) successfully dared Wonder Woman to execute him. Therefore, the Beetle and Booster of JL3K hail from an Earth where things turned out quite differently — but ironically, they’ve been awakened in a dystopian future where the Justice Leaguers are darkly twisted versions of their old selves. Not that Giffen and DeMatteis can’t find some comedy there, but I’m having trouble summoning up a bwah-hah-hah.
September marches on, Wednesday by Wednesday, which means so too does DC Comics’ theme month. This year the publisher has suspended publication of its New 52 titles, replaced them with Futures End one-shots, and slapped new and improved (i.e. smaller) lenticular 3D covers on them, each bearing a “#1.”
One could certainly question the logic in tying all of the New 52 books, even the extremely popular ones like Batman, to a middling weekly series set in a possible future that will never come to pass and that seems to be a fairly reliable mid-list seller. But this week’s crop of one-shots demonstrates that, despite the fact that each book has the words “Futures End” in the title, many of them have somewhere between nothing and very little to do with the actual plot of the event series.
In the previous two installments of our weekly look at these specials, I recapped the basic plot of Futures End. But this time, I see I need not even bother. DC shipped 11 of the books this week, but I only read five — and the only thing those issues shared in common is that they’re set five years in the future (not that they had much of anything at all to do with Futures End).
It won’t be long before the Legion of Super-Heroes reappears in the New 52. This week’s two-page editorial spread (written by editor Brian Cunningham) teases next month’s “The Infinitus Saga,” a Justice League United arc pitting the newest batch of Leaguers against the future’s greatest super-team.
Providentially, rumors have begun circulating about the Legion’s possible jump to the big screen, as Warner Bros.’ answer to Marvel’s Guardians of the Galaxy. Among the reactions to these rumors were Eric Diaz’s suggestions (at Nerdist) and The Beat’s conclusion that “I never got the Legion [but] this could be a charming and exciting film.”
To be sure, it’s way too early to evaluate the merits of a Legion film. Heck, there may not even be a Legion movie, if Batman v Superman underperforms. However, two things jump out at me from this coverage: First, the blockbuster Guardians has opened the door for adapting all sorts of superhero obscurities. Second, any adaptation must deal with — and most likely overcome — the Legion’s history (and history of reboots).
With regard to the latter, The Beat calls the feature “classic DC — a continuity-heavy series that has a smallish but rabid following, and a huge cast of characters who are sometimes oddballs”; and Nerdist notes that “DC has struggled to keep the book relevant” for most of the past 30 years.
This month marks the third anniversary of of the New 52, and, as was the case with each September since the 2011 relaunch of DC Comics’ superhero titles, that means the entire line is being unified under an umbrella theme … or gimmick, depending on how charitable you are.
In 2012, it was “Zero Month,” with each book telling a story set in the hero’s first year of rebooted continuity. Last year, it was “Villains Month,” featuring fancy 3D covers, decimal-point issue numbers and stories starring DC’s antagonists. This year, its a little from column A, and a little from column B: There are more of those fancy covers, but all of the stories are set five years into the future.
As I did last week, I’ve grabbed a handful of new Futures End one-shots, more or less at random, for review. This week DC released 10 Futures End one-shots, of which I have five sitting in a little stack next to me as I type. Last time, I tried ordering the reviews from worst to best, but I had trouble doing so this week, as there wasn’t really a stand-out like Grayson. Rather, these five seemed to cluster around a baseline of mediocrity, with a few being slightly better, others slightly worse.
In the near future, some sort of sentient operating system has awoken and taken over the world, transforming its inhabitants into cyborgs that then either kill or assimilate the rest of the population. To try to prevent this apocalyptic nightmare, Batman Bruce Wayne sends Batman Terry McGinnis into the past to stop that operating system from being created.
I know parts of that plot might sound familiar, but notice the presence of Batmen in it, so obviously I am describing The New 52: Futures End, DC Comics’ weekly series set five year in the future, where McGinnis is trying to alter his past to save his future.
I wonder if DC could send someone back in time, whether they would have altered the storyline of Futures End a bit. It’s always difficult to tell exactly how well a particular series is selling — in part because of the insane way the direct market sells comics, in part because publishers don’t typically release numbers — but one expects DC might have had higher hopes for Futures End, given that this year’s theme month of September is devoted entirely to tie-ins to the storyline, as the company has suspended much of its New 52 line and replaced it with
52 42 Futures End one-shots.
Let’s get this out of the way: The first issue of The Multiversity is one of the craziest main-line superhero comics I’ve read in a long time. It’s self-referential. It attempts to engage the reader directly. It leaps around various parallel worlds in great flurries of color, off-kilter captions, and shouty dialogue. It’s apparently also a pretty-direct sequel to Final Crisis, writer Grant Morrison’s 2008-09 big-event miniseries, which — not that it matters much — took place under a different set of cosmological rules.
A few weeks ago I wrote about the interaction between those rules and the need to reference a potentially “invalid” story. Some readers may be frustrated (not unreasonably) by such interactions, and so far The Multiversity isn’t making things easier.
Again, though, consistency across continuity reboots is beside the point. Indeed, with a giant one-eyed bat-thing intoning “WE WANT 2 MAKE YU LIKE US,” consistency itself appears to be one of The Multiversity’s main villains. Change the emphasis slightly and the plot becomes more insidious. “We want to make you like us” — i.e., happy to exist in a state of “anti-death,” an everlasting “moment of ruin.” The imagery isn’t very subtle, and commentators have already compared the Gentry’s members to DC and other big comics publishers. For that matter, Morrison and artist Cameron Stewart made the globular, monocular corporate mascot Mickey Eye the symbol for all that was wrong in the superhero world of Seaguy. (Coincidentally, that hero also had a funny-animal sidekick.)
My review could end up being in the form of a cop-out, but saying that readers get out of Multiversity what they put into it might actually be the point of the series. As a superhero comic, The Multiversity #1 is perfectly decent. Penciler Ivan Reis, inker Joe Prado, colorist Nei Ruffino and letterer Todd Klein present it in an attractive package. (The fact that Reis is the current Justice League penciler probably has its own metatextual significance, given the subject matter.) However, just as the Multiverse is a framework for various parallel realities, so The Multiversity #1 provides a framework for engaging with those realities — and that’s a little harder to quantify.
SPOILERS FOLLOW, assuming plot still matters for this sort of thing.
Following DC Comics’ solicitations over the past few months has been fairly intriguing. The company’s West Coast move in early 2015 looms over all its actions, and makes it hard to gauge whether a new series or new creative team is a long-term commitment or a brief burst of experimentation. Moreover, that makes it tempting to say that anything you don’t like — or, for that matter, anything you do like — might be gone by April.
Oh, well. A little paranoia can’t hurt, but we’re not here to talk about that. Open a window to the November solicits and read along!
November brings new creative teams for Wonder Woman (the Finches and Richard Friend), Superman/Wonder Woman (Peter Tomasi and Doug Mahnke) and Supergirl (Mike Johnson, Kate Perkins and Emanuela Lupacchino). I’m still in wait-and-see mode on the Finches. However, after several years of reading Tomasi and Mahnke’s work, I feel like I know what’s coming from them. S/WW should look great, as Mahnke is no stranger to either Superman or Wonder Woman, having drawn JLA and various issues of the New 52 Justice League. I suppose I’m cautiously optimistic about Tomasi, because this is the sort of book that plays to his strengths. He’s good at reconciling and unifying different perspectives on characters, and that’s pretty much what S/WW has always had to overcome. Ironically, it’ll probably be less of a concern in the absence of Azzarello and Chiang, but I suspect Tomasi will keep those elements around.
Last week I wrote about Earth 2 in the context of its Supermen. The most recent issue, Earth 2 #26, brought some closure to the Apokolips-invasion plot and subplots, and this week’s Worlds’ Finest #26 does much the same for its displaced heroines. The September issues of both series will jump forward five years to tie into Futures End, and October brings the Earth 2: World’s End weekly miniseries.
Therefore, as these were the last couple of issues before everything will no doubt start to change, I want to talk this week about Earth-2’s unique place in the New 52’s multiverse, and what it might say about DC’s approach to legacy characters.
Digital comics | Bruce Lidl looks at the digital-comics landscape following Amazon’s purchase of comiXology a few months ago. ComiXology’s announcement that it would allow DRM-free purchases of some comics may lead to a fissure in the market, he says: “In fact, we may be beginning to see a kind of bifurcation in the digital comics market, between companies tied to large global media conglomerates, that maintain a fervent faith in the need for some kind of DRM control for their multi-billion dollar intellectual properties, and the smaller publishers more concerned with creator autonomy and exposure.” He also talks to some digital-first creators about how they approach the market. [Publishers Weekly]
On Tuesday, Comic Book Resources interviewed Superman writer Geoff Johns, penciler John Romita Jr. and inker Klaus Janson, who (as the headline put it) want to “inject optimism” into the series. As part of that interview, Johns contended that the Man of Steel’s desire to connect with his fellow Earthlings makes him “more relevant now than ever.”
Considering a couple of ongoing storylines, this current focus on positivity sounds like a voice crying in the wilderness. Today we’ll look at the end of Earth 2’s “The Kryptonian” — which features two alternate Supermen — as well as the latest installments of “Doomed” in the regular Super-books.
Naturally, SPOILERS FOLLOW for Earth 2 #26, Superman/Wonder Woman Annual #1, Action Comics Annual #3 and Action Comics #34.
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