Axel-In-Charge: Extending "Secret Wars," Excitement for a "Totally Awesome Hulk"
Manga | The 13 volumes to date of Hajime Isayama’s dystopian fantasy Attack on Titan have sold a combined 30.37 million copies in Japan, making the manga only the third series to do so since market research firm Oricon began tracking the numbers in 2009 (the first two were, of course, mega-hits One Piece and Naruto). [Anime News Network]
Digital comics | John Casteele considers the acquisition of comiXology from Amazon’s point of view: “It’s easy to see how the ComiXology purchase is going to benefit Amazon. Access to the ComiXology platform not only provides the company with additional revenues from the growing digital comics market and to the comic series that had the highest-selling single issue in 2013 (The Walking Dead, which also had five of the top 10 best-selling graphic novels for the year). It could also provide synergy with Jet City Comics and the Kindle, giving both access to the ComiXology publishing platform. Amazon could also use its Kindle platform to further refine the ComiXology’s ‘Comics’ app, which is already available for the Kindle Fire but might enjoy more direct integration in the future.” [Business Insider]
First off, yes, I have read the first issue of Batman Eternal, but since its “pilot episode” includes issues #1-3, I’ll be talking about those more specifically in a couple of weeks. Eternal is one of two weekly series DC will offer this year, the other being Futures End, a look into the shared superhero universe five years from now.
However, we might well ask what difference will there be, one year from now, between an issue of either series and your average issue of a monthly title? When Eternal and Futures End are collected in their entirety two years from now, how different will they be from collections of Court of Owls or Throne of Atlantis?
The obvious differences are time and volume. The year-long weekly comics that DC put out from 2006 through 2009 — 52, Countdown and Trinity — all used their speedier schedule to tell a big story in a (relatively) short time. Instead of letting their epic tales play out over four-plus years, these series each got ‘em done in one.
Now think about sitting down with one of these thousand-page sagas. It won’t take a year to read, but it’s not something to approach lightly. That puts a special emphasis on how they’re to be read. Today we’ll look at DC’s history with weekly series (and some related experiments), with an eye toward what the two new ones might offer.
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Digital comics | Casey Baseel has more details on Kadokawa’s new digital manga service ComicWalker, which will launch on March 22. The service will include a mix of original comics and manga that are currently serialized in Kadokawa’s magazines, such as Shonen Ace. The comics will be available in English and Chinese as well as Japanese, although initially just 40 will be translated. Kadokawa hopes to add French translations as well, to bring in readers in France and French-speaking Africa, which is not well served by manga publishers right now. The first three chapters of each series will always be available for free; collected editions will be available online two weeks after print publication and will remain available, for free, until the next volume comes out. The idea is clearly to use digital to entice people to buy the volumes in print, and to draw new readers to older series, Kadokawa is adding color pages to the classics Mobile Suit Gundam and Neon Genesis Evangelion. [Japan Today]
Readers of superhero comics have long debated the merits of “decompression” and “waiting for the trade.” You can either read a serialized story as it comes out, or you can wait until it’s collected. With two issues to go, it looks like Forever Evil wants it both ways. It is structured for the Wednesday crowd but written for the trade; and so far, the result is a grim, vignette-driven affair. Writer Geoff Johns and artists David Finch and Ivan Reis (and their various collaborators) have set up an apocalyptic scenario and teased a handful of elements pointing toward its resolution; but they haven’t otherwise done much, issue to issue, to move the story closer to that resolution. Indeed, the deeper I get into Forever Evil, the more I suspect that it — like its prologue, “Trinity War” — may be only the latest chapter in an ever-expanding saga.
By itself that would be unsatisfying enough. However, Forever Evil was supposed to show off DC’s shared universe (New 52 edition). To be fair, its Justice League crossover issues have presented New 52 versions of Plastic Man, the Doom Patrol and the Metal Men, and alluded to past battles with old-school villains like Ultivac and the Construct. Still, except for the Metal Men, none seems directly related to FE’s eventual outcome; and each seems intended instead as an Easter egg or the seed of a future series. Indeed, while the “Blight” crossover has shown what happened to the magic-based superheroes, FE itself hasn’t delved too far into the whereabouts of DC-Earth’s non-Leaguer super-folk. For those of us wanting each issue to go somewhere new, or at least somewhere different, month in and month out Forever Evil has felt fairly repetitive. Moreover, in sidelining the Justice League itself, it’s removed a potentially productive narrative thread.
Inasmuch as these choices relate to the changing comics marketplace, Forever Evil could be one of the last big events structured this way, or it could be the shape of things to come.
Comics fans searching for a visually bold yet affordable way to liven up a room may find something that suits their tastes, and their budgets, from GeekMyWall, which offers a line of striking typographic posters inspired by comics characters.
Harley Quinn, Batman, Green Lantern, Rorschach, V — they’re all represented in prints beginning at 11 inches by 17 inches or $25. Each figure is created from character-appropriate quotes. For instance, Wonder Woman is, “Of all people, you know who I am … …who the world needs me to be. I’m Wonder Woman.” And The Flash: “‘I’m getting lectured on child safety from a man who’s gone through four Robins?”
They’re also available as T-shirts. And if the comic characters aren’t for you, there are plenty of television- and movie-themed options.
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.
Time once again to revisit some thoughts about the year just ended, and offer some thoughts on the year to come.
First, let’s see how I did with 2013:
1. Man of Steel. Last year I asked “a) how well will it do with critics and moviegoers; and b) yes, of course, will it help set up Justice League?” It got a 55 percent (i.e., Rotten) ranking from Rotten Tomatoes (although 76 percent of RT visitors who cared to vote said they liked it). Financially, Box Office Mojo called it a “toss-up,” putting it in the same category as Star Trek Into Darkness, World War Z, The Wolverine, The Hangover Part III, Pacific Rim and, uh, The Smurfs 2. I liked it well enough — I seem to like a lot of things “well enough” — but perhaps Super-fan Jerry Seinfeld’s musings about missed opportunities speak best to the film’s reception. MOS itself didn’t help set up a Justice League movie, at least not as expressly as, say, Nick Fury talking about the Avengers; but I think it’s safe to say that the sequel will go a long way in that regard.
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Because it’s the day after Christmas, and I don’t want to write 1,500 words about Forever Evil and its Justice League tie-in — except to say they both felt a lot like stereotypical Lost, and not necessarily in a good way — here’s a stocking’s worth of number-based observations about DC past and present.
Twelve Crisis issues: I talk a lot about 1984-85’s Crisis on Infinite Earths, mostly because it so completely transformed not just DC’s shared-universe continuity, but its publishing philosophy. On its merits, Crisis is a mixed bag, pairing stunning visuals with a sometimes-flabby narrative. However, despite its sprawl, COIE ended up with a definite structure. The first four issues deal with a mysterious antimatter onslaught which destroys whole universes, apparently including the familiar Earth-One and Earth-Two. The final page of Issue 4 is nothing but black “smoke” clearing away, revealing blank white space. Issues 5 and 6 offer vignettes on the five surviving universes, as time periods intersect in “warp zones” and ordinary people see multiversal counterparts of departed loved ones. Issues 7 and 8 are, to put it bluntly, the Big Death issues, with Supergirl saving her cousin from the Anti-Monitor and the Barry Allen Flash destroying Anti-M’s latest doomsday weapon. Issues 9 and 10 feature the “Villain War” and a two-pronged time-travel assault on Anti-M’s efforts. That ends with a shattered, otherwise “blank” comics panel, as the Spectre wrestles Anti-M for control of history itself — and issues 11 and 12 feature the heroes of a new, singular universe fighting a final battle against the Anti-Monitor. Today’s decompressed (and sometimes decentralized) Big Events focus more on character moments and slow burns, and more often than not they don’t have to streamline fifty years of continuity, but Crisis remains a model for just how big an Event can be.
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We’ve known for a while that DC’s superhero line will go through some changes in the wake of Forever Evil, and as the March solicitations bring the end of that Big Event, not surprisingly the month looks rather transitory. In fact, Forever Evil #7 is scheduled to appear on March 26, just as the final issue of Blackest Night — also written by Geoff Johns as a spinoff of his highest-profile series, in case you’d forgotten — dropped on the last week of March 2010. (It must be pure coincidence that these solicits feature a $200 White Power Battery tchotcke.) Back then, BN #8 was supposed to “set the stage” for the “next epic era of DC Comics,” which turned out to be about 18 months long and featured the biweekly sort-of-sequel miniseries Brightest Day. This time, Forever Evil #7 teases the importance of the “Hooded Man” and promises to “leave the DC universe reeling and reveal the secrets to the future.”
So, yeah, sounds like another cliffhanger ending, perhaps even leading into another big-deal miniseries — specifically, the May-debuting weekly Futures End. Considering that the three tie-in miniseries (ARGUS, Arkham War and Rogues Rebellion) all seem to feed into FE #7, the actual content of that final issue may well be a giant scrum, not unlike the final issue of Flashpoint, in which some cosmic button is pushed, defeating the Crime Syndicate but at a significant cost to DC-Earth. As it happens, there’s no mention of the “Blight” sub-crossover (bringing together Phantom Stranger, Pandora, Constantine and JL Dark) feeding back into Forever Evil, but I’m not sure how much it’s supposed to relate, beyond being about the JLD trying to pick up the post-invasion pieces.
Duane in Orange County, Calif. is a man of action — action figures, that is.
“I have always had toys, but growing up I couldn’t have nearly as much as I wanted,” he said. “… Now, when I want something, I seek it out furiously. Unfortunately, as I get older the collectibles that I want get more and more expensive.”
Check out his collection of action figures — Power Rangers, Doctor Who, DC Comics, Avengers and more — below.
I really like Halloween, but it’s always been hard for me to come up with a spooky post that relates to DC Comics. The emphasis here is on “for me”: DC has a wealth of spooky material from which to draw, and I’ve just never been able to work with it meaningfully.
For this year’s Halloween post I thought about doing a survey of DC’s horror-themed titles over the years, because certainly the publisher has had its share. There are stalwarts that go back decades, like House of Mystery, Swamp Thing and The Sandman (whose sequel miniseries starts this week, as you might have heard). The first round of New 52 titles included I, Vampire and Frankenstein, Agent of SHADE — and while both of those have bitten the dust, Justice League Dark still heads up the superhero line’s magic-oriented section.
However, the more I thought about it, this space is really not big enough — yes, even with my extreme verbosity — to do right by the horror books. Besides, most of them have ended up at Vertigo, although some are being reincorporated into the superhero line. House of Mystery is a good example of the “serious horror” migration. It started out in the ‘50s as a supernatural anthology before switching over to science fiction (after the fall of EC) and then, briefly, superheroes (specifically, the Martian Manhunter and “Dial ‘H’ for Hero”). When the Comics Code relaxed its stance on all things scary, HOM told horror stories, including an extended run as the original home of “I, Vampire.” The title ended in 1983, after 32 years and more than 300 issues, but it’s never really been forgotten. The House itself (along with its companion from another eponymous title, the House of Secrets) became a part of The Sandman’s landscape, and was the setting for a Vertigo relaunch, which ran from 2008 to 2011 (42 issues and a couple of specials). Now it belongs to John Constantine and serves as Justice League Dark’s headquarters, which I suppose is better than limbo.
DC Collectibles has revealed their con exclusives for October’s New York Comic-Con, which include a Super Best Friends Forever: Poison Ivy PVC Figure and an action figure two-pack featuring Green Lantern Hal Jordan and Blue Lantern Saint Walker.
Like the three Super Best Friends Forever figures released for San Diego, the Poison Ivy PVC Figure is designed by Lauren Faust and sculpted by Irene Matar. It measures approximately 6.625” tall and is priced at $24.95.
The DC Comics Super Heroes: Hal Jordan & Saint Walker Action Figure 2-pack is sculpted by Robert Lynders. This set is the latest in the 3.75” scale and is priced at $29.95.
Both items can be bought at the Graphitti Designs booth #755 at New York Comic-Con.
DC Entertainment may not have planned it this way — “planning” being something with which DC may be only tangentially familiar — but I doubt its high-ups wanted to release these December solicitations the Monday after what had to be a pretty rough weekend. When you’ve just had to deal with a celebrated creative team walking off a fairly successful book — citing “editorial interference,” and reminding people that the character’s original writer also left after increasing frustration with DC — you might not want to follow that up by calling attention to all the other changes coming before the end of the year.
And don’t worry, there’ll be plenty of Batwoman and “sucky personal life” talk before we’re done. Solicits first, though …
If the first week of Villains Month is any indication, a good bit of the decimal-point issues will feature stories set in the early stages of the Crime Syndicate’s takeover. This wasn’t that apparent from the September solicits, and subsequent months also appeared light on explicit crossovers. December is about the same, with Teen Titans dropping out of the crossover lineup, and Pandora and Phantom Stranger joining the three Justice League books, the three Forever Evil [Colon] miniseries, and Suicide Squad.
Publishing | ICv2 continues its look at August’s direct market numbers, declaring Marvel’s Infinity #1 a million-dollar book, the third this year to top $1 million in sales, thanks to its $4.99 cover price and estimated orders of 205,000 (DC Comics’ Justice League of America #1 and Superman Unchained #1 are the other two). However, it’s also important to note that Infinity #1 was offered to retailers at a deep discount (up to 70 percent). [ICv2]
Digital comics | Jeff DiBartolomeo explains why he left his job at HBO (he was one of the developers of their HBO Go app) to become chief technical officer at comiXology: “What’s interesting to me is seeing this market, which is one I’m not vary familiar with, and seeing the potential. It’s proving to be useful to have me come [to Comixology] with a different set of eyes, at a different angle.” [TechHive]
Matt Cowan’s handle on DeviantArt is “Matt Can’t Draw”, which isn’t necessarily true. Sure, he is more of a designer, a conceptual artist, than a straight-up “drawer.” His latest series, “Sounds Like,” is possibly a thinly veiled dig at the lack of imagination of Hollywood casting departments. Or is it just an excuse to draw his favorite characters together?
In any case, check them out below. And if you harbor some irrational prejudice against DeviantArt, Cowan’s work is also posted to his Tumblr.