Geoff Johns Archives - Page 4 of 15 - Robot 6 @ Comic Book Resources
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.
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
“Yes he [Aquaman] talks to fish, but it’s more interesting to find out what drives him and motivates him. How are those powers a metaphor that we can relate to? [...] The best characters are relatable. They don’t have to be relatable in a literal sense where they have a problem with a job. The things that they experience and the things that they go up against have to reflect upon us emotionally. It doesn’t have to be timely. It’s nice when it’s timely, but it has to be emotional.”
– Geoff Johns, addressing his penchant for injecting new life into neglected characters, in an article that includes a rundown of DC and Vertigo titles that influenced him as a young fan
After four installments, Comic Book Resources’ monthly “B&B” feature, in which DC Comics Editor-in-Chief Bob Harras and Editorial Director Bobbie Chase answered questions from readers and CBR’s Josie Campbell, is no more. Jerry Ordway’s work situation, and controversies generally, were apparently to blame. Of course, DC is free not to participate in such things, and CBR is likewise free to investigate such controversies on its own. Still, the whole thing only highlights the problems DC has had in connecting successfully with fans.
Now, it may be more accurate to say DC has had problems connecting successfully with fans who are vocal about their negative opinions of the company. For all I know, DC may be quite popular with whatever audience it has targeted. Regardless, despite its constant PR presence, today’s DC seems a lot more guarded than it has been; and I think that can only hurt it in the long run.
Ironically, part of the problem is the corporate-comics news cycle. Each week’s worth of DC books has a couple of promotional features, namely the “All Access” editorial and the new “Channel 52″ two-pager. Beyond that (and probably more frequently than once a week) the company issues press releases and facilitates interviews for various news sites. Furthermore, each month’s solicitations advertise what’s coming out at least two months in the future; and during convention season the company can manage its particular messages in person. That’s a lot of information for a company whose bread and butter come from a few dozen monthly 20-page story installments.
Veteran writer John Ostrander, best known for his work on DC Comics’ Suicide Squad, will step in for Geoff Johns on May’s Aquaman #20, bringing with him artists Manuel Garcia and Sandra Hope, IGN.com reports. Johns and regular artists Paul Pelletier and Sean Parson will return with Issue 21.
“Those not familiar with John, he’s one of the comic greats — from Suicide Squad to The Spectre. Exciting to see him take on The Others,” Johns wrote on Twitter. “John has an excellent take on The Others, particularly The Operative, and he’ll be introducing a new member to the team.”
To see what James and the Robot 6 crew are reading, click below …
Zatanna is making the move from Justice League Dark to Justice League with July’s Issue 22, and she’ll bring with her a new costume.
Writer Geoff Johns made the announcement last night on Twitter with “the worldwide debut” of the character’s new look, which combines elements of her Satellite Era/Detroit Era costume — the cape, thigh-high boots and the design on the unitard — with the fishnet of her better-known stage-magician ensemble. Yes, gone are the bustier and leather pants of Justice League Dark.
With Zatanna joining Aquaman in Justice League, Vibe and Martian Manhunter in Justice League of America, and Gypsy and Dale Gunn reintroduced in Justice League of America’s Vibe, can a new Justice League Detroit series be far behind? The answer’s likely a firm “no,” but if Elongated Man makes a surprise appearance somewhere in the New 52, all bets are off!
Hello and welcome to What Are You Reading?, where the Robot 6 crew talks about the death of … oh, wait, we already did that. In fact, nobody brought up [REDACTED] in their write-up this week. But they did talk about a bunch of other comics.
Our guest this week is cartoonist and teacher Ben Towle, creator of Oyster War, Midnight Sun, Amelia Earhart: This Broad Ocean and much more. Check out his website for all kinds of fun art and pin-ups (Alien Legion!).
To see what Ben and the Robot 6 crew have been reading, click below.
The big new Justice League of America #1 is kind of a mess. It asks a lot of its readers without delivering much right away.
This is something of a mixed result where JLA writer Geoff Johns is concerned. He tends to start well, at least for me. I liked his first issues of Blackest Night and Flashpoint, the introductory volume of Batman Earth One, and his recent work on Green Lantern Simon Baz and the just-concluded “Throne of Atlantis” storyline. However, JLA #1 (drawn by David Finch) either takes a fairly counterintuitive approach to its own premise, or is playing some sort of long game which isn’t readily apparent, and (again) doesn’t quite flow from the book’s Justice League lead-in. More successful is (Justice League of America’s) Vibe #1 (written by Johns and Andrew Kreisberg, pencilled by Pete Woods, and inked by Sean Parsons), which grounds its hero so solidly in League lore it almost overshadows its fellow spinoff.
SPOILERS FOLLOW for JLA #1, Vibe #1, and the conclusion of “Throne of Atlantis” in Justice League #17.
Justice League International had respectable sales, but nevertheless was one of the earlier cancellations of DC Comics’ New 52. Justice League Dark is similarly doing decent business, but, like JLI, it’s still not doing anything close to the monster sales of the Geoff Johns-written flagship Justice League.
So it’s not exactly surprising that DC is taking another whack at expanding the Justice League into a franchise, and that for this second attempt, Johns is involved. On Wednesday the publisher debuted Justice League of America and Justice League of America’s Vibe, and both will almost certainly be considered successes (the former has more than 50 state-specific variant covers as an added kick in the pants).
But are they good comics? I could answer yes or no, but that would make for an awfully short post. Join me below for a discussion of each.
Publishing | This wrap-up of the third annual India Comic Con, which drew an estimated 50,000 attendees (up from 15,000 last year), doubles as a snapshot of that country’s $22 million comics industry. The growth of the market is attributed in large part to the rise of graphic novels, which are luring young-adult readers. [The Times of India]
Comics | Writing for The Atlantic, Noah Berlatsky weighs in on the backlash over DC Comics hiring Orson Scott Card in an article titled “The Real Reason to Fear a Homophobe Writing a Superman Comic”: “It’s disturbing to have Orson Scott Card writing Superman, then, in part because Superman is supergood, and the supergood shouldn’t hate gay people. But it’s also disturbing, perhaps, because Superman is a violent vigilante — and because violent vigilantism in the name of good is often directed not against injustice, but against the powerless.” [The Atlantic]
So this is what happens when you praise Geoff Johns’ Green Lantern run …
Let’s be clear: I do not generally have violent mood swings. My sense of well-being does not depend on the fortunes of DC Comics. I don’t pretend to have any special insight into the publisher’s inner workings, and I’m sure the reverse is equally true. However, after saying many nice things about Green Lantern a couple of weeks ago, and then eviscerating the humorless “WTF Certified” last week, it was pretty surprising to see the May solicitations address both topics.
NEXT, RAFALCA JOINS THE LEGION OF SUPER-PETS
The Green Team may have been a group of entitled, self-satisfied jerks with an abnormal need for validation, but if anyone can make them lovable — or, alternatively, entertainingly clueless — it’s Art Baltazar and Franco. I don’t see this book as DC scraping the bottom of the character barrel. Rather, I take it as a good-faith attempt to update a (perhaps misguided) concept for the sensibilities of our time. Not quite “at least they’re trying,” but … at least it’s not another big-name spinoff, you know? (Although a new Steel series is always welcome.) Regardless, the over/under for this book has to be somewhere around 6 issues.
“I’m obviously ending my run with a little sadness because I love these characters, every single one of them. But I’m walking away feeling very proud of what we’ve done and very grateful for the opportunity to collaborate with so many fellow creators. It’s that collaboration, and every reader out there, who have made this a truly special experience. It’s hard to imagine a GREEN LANTERN universe without characters like Atrocitus, Larfleeze, Saint Walker, the Indigo Tribe or the rest of the gang anymore. And I can’t count how many Lantern t-shirts of all colors I continue to see.”
According to recent convention scuttlebutt, DC Comics is apparently canceling its latest Hawkman series, the New 52-launched Savage Hawkman, perhaps as early as May’s Issue 20.
That is not the least bit surprising, really, given the publisher’s historical difficulty in keeping readers interested in Hawkman, and given the way in which the title and the character were served by the line-wide reboot and the accompanying creative-team chaos. It’s too bad, though, given how easily DC could have simply published the sort of Hawkman title the 21st-century super-comic audience would support, rather than The Savage Hawkman.
The series launched in September 2011 along with the other 51 new series comprising DC’s New 52 initiative, featuring a rebooted continuity for the then 71-year-old hero and a redesigned costume featuring more armor and pointed edges (most notably a set of Wolverine-like claws frequently waved in the direction of the reader on the covers). The creative team consisted of artist-turned-writer/artist Tony S. Daniel, who was just handling the writing, and Philip Tan, who was providing the art.