X-POSITION: "Extraordinary X-Men's" Lemire Plans the Fall of Kingdoms
If you’ve been keeping up with the events in the DC Universe, then you know things are looking particularly grim for the good guys.
At the conclusion of “Trinity War,” the Justice Leagues faced an invasion from the Crime Syndicate of Earth-3 — “The birthplace of all evil,” as one character called it — evil counterparts of the Justice League. In the first issue of Forever Evil, these villains claimed to have killed all of the Justice Leaguers, they freed all the supervillains from all the super-prisons and organized them into an army called The Secret Society, they did some awful things to Nightwing and then even moved the moon to permanently block out the sun.
To mark the occasion of evil temporarily winning (again), DC declared September Villains Month, and is interrupting the ongoing adventures of its heroes with special “.1″ issues starring various villains. Each of these was to bear a fancy plastic 3D cover that jacked the price up a buck and ultimately created shortages, an artificial collectors/speculators market and irritated a whole bunch of retailers, many of whom were already pretty irritated by having to figure out how to order something like, say, Justice League #23.3: Dial E, which fused one of the publisher’s best selling comics with one of its worst.
We — and by that I mean you and I, for the course of this post — aren’t going to concern ourselves with that aspect of the books, however. Instead, let’s look under those covers, whether they’re the fancy plastic 3D ones or the regular, cheaper “standard edition” ones and concern ourselves with the quality of the comics concealed behind the covers.
After September’s market-chasing “Villains Month” solicitations, the October listings look a lot more normal. I say “more normal” because I only count 47 New 52 ongoing series, which means October’s new additions don’t balance out August’s cancellations. Forever Evil and other miniseries are picking up some of that slack, but obviously they won’t be around forever. If DC is serious about having 52 ongoing titles — and why wouldn’t it be serious about something so arbitrary? — now may be a good time to start pushing for that Crimson Fox series you’ve always wanted. Hey, DC has greenlit worse ideas …
NOT FOREVER, BUT CLOSE
Forever Evil is 2013-14’s big-event crossover miniseries whose hook is that the villains have taken over the world. Final Crisis was 2008-09’s big-event miniseries whose hook was that Darkseid (helped in part by a revived Secret Society of Super-Villains) had taken over the world. Final Crisis didn’t actually do much crossing over into ongoing series, but it did have an array of tie-in miniseries and specials, including one featuring the Flash’s Rogues Gallery.
Animation designer Andry Rajoelina has created an uplifting, and occasionally funny, series of prints featuring the families of superheroes. That’s “family” as in Superman Family, not as in Jonathan, Martha and Clark Kent. The first set was focused on DC, but he’s now done a second group with Marvel characters.
Some of the characters, but not all, are biologically related, and that’s part of what makes the series so heart-warming. One of the nicest, most reassuring messages of the X-Men was always that people without families could form their own. (I’ve always loved the idea of the X-Men as a family much more than the idea of them as a school.) Rajoelina’s two series highlight that. They focus on adult/child relationships (the Fantastic Four leaves out Johnny Storm and Ben Grimm, for example), but Rajoelina is able to figure out a workaround for Green Lantern, even if it’s a little sad in a humorous way.
Prints of the Justice Families series can be purchased at the Geek Art Store.
Thirty-six questions. Six answers. One random number generator. Welcome to Robot Roulette, where creators roll the virtual dice and answer our questions about their lives, careers, interests and more.
Now let’s get to it …
Manga | Call it the Manga Paradox: Manga sales are way down, but traffic on scanlation sites is robust and attendance at anime conventions is way up. What’s the story? I crunched some numbers and talked to some publishers to get a picture of the new normal for the manga market in North America. [Publishers Weekly]
Comics | A collection of 60,000 comics sold for $200,000 at auction over the weekend in East Vancouver. It seems impressive until you do the math and realize that’s a little more than three bucks a comic. The star of the collection was a restored Hulk comic that went for $6,500. [CBC]
Italian artist Andrea Sorrentino first garnered major attention for his work in late 2011 on DC Comics’ New 52 title I, Vampire. Beginning with Green Arrow #17, Sorrentino teamed with writer Jeff Lemire to become the series’ new regular creative team. Shortly after that first issue debuted, Sorrentino agreed to an interview regarding his new assignment, and in particular his artistic approach on some of the scenes for that first issue.
In addition to featuring some of the pages (which we discuss) from Green Arrow #17, DC also provided some exclusive black-and-white art for Green Arrow #20 (set for release on May 1). Green Arrow #18 has been on stands since March 6; Green Arrow #19 arrives April 3.
Tim O’Shea: In Ryan Lindsay’s CBR review of Green Arrow #17, he wrote, “Sorrentino uses insert panels to highlight certain dramatic and bombastic moments amidst the kinetic action, such as when Queen is ambushed and gets into an arrow fight. This skill set, used consistently but not overbearingly, allows Sorrentino to slow some pages down, deliver detail on multiple planes of a panel, and also brings movement to a static image.” How much do you and writer Jeff Lemire the design and layout of pages, since he is an artist as well? Or does he leave you alone to design the pages as you want?
Andrea Sorrentino: I’d say it’s a mix of his and my ideas. Jeff is a (very good) artist and has a very personal way of making layouts in his created-owner works, so he did bring some of them in this project, too. In this case there was in the script the idea of some little panels that would focus on some parts of a bigger image or scene to make some details of the action to pop from the page. This would give the idea of how tactical Oliver’s mind can be during a confusing moment like the one in Emerson’s office. I discussed the idea with Jeff and used the same solution in order to set the pace of the scene. The main goal was to use those inset panels to try to give a feeling of “slow-motion” effect by guiding the reader’s eye to focus and zoom a bit on some details of the action slowing the time of reading in contrast with the main scene that is delivered in the bigger panel (and at a faster pace). It’s something we’re used to seeing a lot in some movies (especially in recent years) and I was trying to reach for something similar here.
Apart from this, I’ve to say that working with Jeff has been awesome till now and I’m really improving a lot just by talking and collaborating with him.
“… I got back into comics because of stereotypes. I think there was some big controversy in some convention — I wasn’t in the industry because I was off doing other things — about how there were no women in comics, and then I got a call, ‘We need women in comics.’ So if I got back into the industry because I’m a token female, I say great! I’m all in! […] They put me on Green Arrow, and I have to admit, I just didn’t get Green Arrow. I struggled with him. He was a rich playboy in an armored suit who was young. I liked the old Green Arrow, the wise guy who was stealthy and a social crusader — Denny O’Neil’s Green Arrow. This was a different Green Arrow and I didn’t connect with him. Now, doing Katana and Catwoman, I have no idea if there was a meeting where someone said, ‘Let’s give the girl writer the girl books,’ but I instantly related to those characters! It’s fun to write girls.”
– veteran writer and editor Ann Nocenti, discussing her recent return to comics in a fascinating conversation with Louise Simonson at Comic Book Resources that touches up their careers at Marvel, creations like Longshot and Power Pack, attitudes toward female creators in the ’80s, and much more
Welcome to What Are You Reading?, where the Robot 6 crew shares their picks for who we think should play a young Han Solo. Of course, we unanimously chose Nathan Fillion, so instead we’ll talk about what comics we’ve been reading. Joining us today is special guest Tim Lattie, the creator of Night Stars. Tim is currently running a Kickstarter to raise funds to publish it, so head over there and check it out.
To see what Tim and the Robot 6 crew have been reading, click below.
Comics | A Columbus, Ohio, entertainment weekly lays out a case for the city — home of Jeff Smith, the Billy Ireland Cartoon Library & Museum and the Small Press and Alternative Comics Expo — becoming, like Portland, Oregon, a hub for comic books. “Comics in Columbus is a weird underground, sort of hip-hop thing,” indie publisher Victor Dandridge Jr. says. “We’re like hip-hop in the Bronx in ’79, just on the corner doing our thing.” [Columbus Alive]
Conventions | Bart Beaty files a final report on this year’s Angouleme International Comics Festival, and his verdict is … meh. “There was a consensus all around that the show was flat. People would throw around adjectives like “fine,” “good,” and “okay.” It wasn’t a disaster (as were some of the shows disrupted by construction), but it also wasn’t that memorable either” [The Comics Reporter]
Publishing | Radical Studios has secured $3 million in its first round of fundraising to further develop its catalog, expanding its digital publishing efforts and licensing capabilities. The publisher, which ultimately hopes to raise $9.5 million, has two comic-book adaptations in development at major studios: Oblivion, starring Tom Cruise, at Universal Pictures, and Hercules: The Thracian Wars, starring Dwayne Johnson, at Universal Pictures. [Variety]
Retailing | Dave and Adam’s Card World, billed as the largest online seller of baseball cards, has branched out, with an eye toward becoming the largest online seller of vintage comic books by 2014. “We were somewhat shocked and surprised that vintage comic books are more popular than vintage baseball cards. As a card collector, that just hurts,” c0-founder and CEO Adam Martin joked. [Lockport Union-Sun & Journal]
Publishing | As part of its coverage of the Consumer Electronics Show in Las Vegas, Variety spotlights DC Entertainment’s digital moves, particularly its “Digital First” initiative, with titles like Smallville, Arrow and Batman: Arkham Unhinged, and the increase in sales since the company began going day-and-date with its comic books in September 2011. “What we launched last year as an experiment, we’ll increase the frequency now because it’s gotten so popular,” Hank Kanalz, senior vice president of Vertigo and Integrated Publishing, says of Digital First. [Variety]
Retailing | Halifax, Nova Scotia, comics retailer Calum Johnston is looking for a new location for Strange Adventures, as the current location is being redeveloped and the rent will go up as a result. Johnston would rather pay for more staff than pay a higher rent: “When people come in looking for a major title like the death of Peter Parker in Marvel Comics’ The Amazing Spider-Man, they inevitably have questions about other titles. It is important to have staff available to keep customers up to date on new developments and titles.” [The Chronicle Herald]
No small amount of drama accompanies the March solicitations, thanks to Gail Simone’s unexpected dismissal from Batgirl. There’s also turnover at Swamp Thing and Birds of Prey, potential clues to the end of “Death of the Family,” and the usual I-remember-this! commentary on collections.
FOLLOW THE BOUNCING BALL
The big stories are the departures of Simone from Batgirl and Scott Snyder and Yanick Paquette from Swamp Thing. It seems particularly odd in Simone’s case because it leaves the fate of Batgirl’s current antagonist in the hands of a different writer. Maybe that means Simone’s original plans for him didn’t go over particularly well with DC, or maybe it’s something totally unrelated. Either way, looks like it’ll be at least another month (in January’s Issue 16, her last issue) before we learn anything significant. At any rate, Ray Fawkes writes two issues of Batgirl starting with Issue 18.
As of March, Jim Zubkavich is your new Birds of Prey writer, Andy Kubert draws the lead story in Batman #18, and Trevor McCarthy draws Batwoman #18. Also, in a move that threatens to have me try out Phantom Stranger, the very fine J.M. DeMatteis comes aboard as co-writer with Issue # (guest-drawn by the equally fine Gene Ha and Zander Cannon).
I hear a lot of rumbling from the February solicitations — the First Lantern, the last Hellblazer, the new JLA — like the Next Big Things are simmering under the surface. Yes, this is how DC wants me to think, but there’s no guarantee that my anticipation will live up to the books themselves. Still, at least things are happening, which is nice. There are endings and beginnings, changes and reintroductions, and a few good reprints too.
So, without further ado …
JUST BE GLAD IT’S NOT “20,000 LEAGUES”
The “expansion of the Justice League” advertised in Justice League #17 may be related to the new Justice League of America, but I suspect it will have more to do with the main League’s roster additions (which, if memory serves, were teased back in summer 2011). I base this mostly on the fact that JLA #1 comes out two weeks before JL #17, and therefore I doubt DC would want its latest high-profile first issue to spoil the end of “Throne of Atlantis.”
DC Comics has declared Wednesday, Oct. 10 as “Arrow Day” to celebrate the premiere of the Arrow television series on The CW.
What’s Arrow Day, you ask? Well, when fans visit direct-market stores on Oct. 10, they’ll receive a free Arrow #1 Special Edition custom comic — it’s characterized as “the perfect companion for the show’s premiere that night” — as well as a six-page preview of Green Arrow #0, which was released earlier this month. The publisher is also providing retailers with promotional posters and bags for the TV series.
Readers will also be able to download the first chapter of the new Arrow digital comic series written by the show’s executive producers Marc Guggenheim and Andrew Kreisberg, with art by Mike Grell.
Developed by Guggenheim, Kreisberg and Greg Berlanti, Arrow centers on wealthy young bad boy Oliver Queen, who after being marooned on a remote island for five years returns to Starling City with a mastery of the bow and a determination to make a difference.
The series stars Stephen Amell (Hung) as Oliver Queen, Colin Donnell as Tommy Merlyn, Katie Cassidy (Supernatural, Melrose Place) as Laurel Lance, David Ramsey (Dexter) as John Diggle, Willa Holland (The O.C.) as Thea Queen, Susanna Thompson (Star Trek: Deep Space Nine) as Moira Queen and Paul Blackthorne (24) as Detective Quentin Lance.
Arrow premieres Wednesday, Oct. 10 at 8 p.m. ET/PT on The CW.
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!