jeff lemire Archives - Robot 6 @ Comic Book Resources
Batman: The Dark Knight Vol. 3: Mad (DC Comics): Poor Batman. His new continuity is only a few years old, and already he’s suffering from threat inflation, so that now seemingly every crime is one that could level Gotham City and every villain a mass-murderer with a three-figure body count to rival The Joker’s.
In this volume — collecting six issues and an annual from writer Gregg Hurwitz’s run on The Dark Knight — it’s The Mad Hatter’s turn for an upgrade. A villain formerly portrayed as either obsessed with hats or with Lewis Carrol’s Alice books or both, depending on the writer, Jervis Tetch here begins his road to villainy by killing a rabbit, then uses a step-ladder to reach the face of an underling who he proceeds to murder by plunging his thumbs into the victim’s eyes. From there, he murders a housewife by bashing her head in with an iron, he kills hundreds—hundreds!—of Gothamites through his mind-control technology, and he then has Batman’s girlfriend killed…by having her beaten to death in front of him.
In response, Batman tears one of the Tweedles’ jaws off, beats the diminutive Hatter until he’s drenched in his villain’s blood, then tosses him into a pond to drown until Alfred reminds him that he can’t kill the Hatter, or else he’ll be no different from him. I don’t think Batman should ever resort to lethal force, but Alfred’s argument isn’t all that powerful as presented here, given that one side of the scale has a madman murdering scores of innocents, and the other has Batman killing said killer.
That’s not the only surprisingly cliched bit of the story, which invents a new origin full of childhood trauma for Jervis Tetch akin to those Hurwitz previously gave The Scarecrow and The Penguin. Batman also decides he loves his current girlfriend, reluctantly reveals his secret identity to her and then, the very next night, one of his foes murders her while attempting to torture Batman’s secret identity out of her.
It’s a pretty problematic plot, to say the last.
Creators | Kuroko’s Basketball creator Tadatoshi Fujimaki remained silent over the past year while hundreds of threatening letters were sent out to retail stores that sold the manga and anime, venues that hosted doujinshi (fan comics) events connected with it, and even his alma mater, but now that police have arrested a suspect in the case, he has made an official statement. Fujimaki expressed relief that the suspect had been caught, thanked the police who were involved in the investigation, and promised that more chapters of Kuroko’s Basketball are on the way. [Anime News Network]
Conventions | Salt Lake Comic Con producer Dan Farr is voicing his support for the construction of a “mega hotel” near the Salt Palace convention center. The Utah state Legislature ended its legislative session without passing a $100 million bill to fund such a hotel, but backers hope to see it revived in the next session. Ticket sales for the 2013 convention topped 50,000, and Farr told the local news station, “A convention center hotel would be a big help for us.” [Fox News 13]
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.
Travel Foreman posted these pieces to his blog overnight, explaining that he and Jeff Lemire were agitating for a Doom Patrol reboot around the time the artist left DC Comics’ Animal Man. He fleshes out the proposal’s premise, which was a ground-up reimagining of the concept, owing little to previous iterations of the characters.
“I’ve expressed my interest in doing the book to DC several times,” Foreman writes, noting that 2013 is the team’s 50th anniversary, “but it doesn’t seem to be something that’s ever going to happen.”
He offers a bit of detail about the pitch on his blog — there’s a catastrophe on a space station, with the lone “survivor” a Rover that developed into a sentient robot — and indicates he plans to develop the idea into his own Doom Patrol “simulacrum.”
When DC Comics’ Justice League of America relaunches in April as Justice League Canada, it will introduce a young Cree superheroine inspired in part by Shannen Koostachin, a teenage activist who lobbied the federal government for a new school in Attawapiskat First Nation, on the James Bay Coast. Koostachin died in a car accident in 2010 at the age of 15.
“I think if I can capture some of that heart and some of that essence in this character,” writer Jeff Lemire told CBC News. “Perhaps she’ll almost be a guiding spirit in the creation of this character.”
Announced in August, the series will find the Justice League moving to Canada in the wake of “Trinity War.” Lemire had previously revealed the team lineup would include Adam Strange, reintroduced as a Canadian, as well as a Canadian teenager, but this interview provides more details.
For instance, we now know that Hawkman and Green Arrow — currently part of the Justice League of America roster — will remain, and that the initial storyline involves the infiltration of “a secret alien bunker” near James Bay. That’s where the new superheroine enters the picture, as two local teenagers sneak into the bunker once the Justice League leaves, and it’s learned one of them is part of a legacy of Cree heroes.
DC Comics’ Vertigo imprint has been the subject of a lot of speculation over the past year or so, due to a variety of portents: the departure of founder and longtime executive editor Karen Berger; the end of the imprint’s longest-running title Hellblazer, with the character reclaimed by the DC Universe in Justice League Dark and Constantine; the debut at Image Comics of several comics that, not long ago, likely would’ve been pitched to Vertigo; and the launch of the offbeat Dial H, by none other than acclaimed author China Mieville, in the New 52.
There was the perception that the imprint’s branding had become confused, with books that used to fall under to the dissolved WildStorm imprint (and seem like better fits for the DC brand) appearing under the Vertigo banner (superhero comics Astro City and Tom Strong, movie adaptation Django Unchained). And then there were the low sales and cancellations.
Well, Vertigo’s still around. It launched The Wake, a limited series by American Vampire and Batman writer Scott Snyder and Sean Murphy, and the imprint has plans for a new Sandman miniseries and a Sandman spinoff. And in the last few months, it has launched enough new series to be considered a wave.
So what does that mean for the future of the imprint? I’ll be damned if I know. However, I do know it’s not the most important question in my mind. Of greatest import to me, as always, is whether the comics are any good. So let’s take a look at the the beginnings of Vertigo’s latest crop, excluding The Wake, which I think it’s safe to assume will find an audience.
Jeff Lemire, the award-winning creator of Essex County and Sweet Tooth — and one of DC Comics’ go-to writers — will follow his 2012 graphic novel The Underwater Welder with Roughneck, to be published in 2015 by Simon & Schuster and Simon & Schuster Canada.
The project represents somewhat of a return to a familiar setting, rural Canada, as it follows “a former hockey player forced to face his demons and reconnect with his Cree heritage when his troubled sister comes running home to the remote northern town where he now lives.” Here’s the official description:
Derek is a former hockey tough guy whose quick rise to the NHL was cut short when a brutal on-ice incident left him banned from professional hockey for life. Now, four years later, Derek has returned to Black River, his hometown in Northern Ontario, not far from the Moose Cree First Nation, where his mother grew up. Derek’s slide into alcoholism and depression is interrupted when his long-lost sister, Annie, returns home trailing a violent ex-boyfriend. Together, the two escape to the woods, where they struggle to reconnect with the traditions of their Cree ancestors in order to escape their past and gain redemption.
An Essex County, Ontario, native who now lives in Toronto, Lemire is a two-time Shuster Award winner who’s been nominated for eight Eisners. He and artist Mike McKone will introduce DC’s Justice League of Canada next spring.
Mondo, the Alamo Drafthouse’s collectible art boutique, is celebrating EC Comics and Tales From the Crypt for Halloween with a gallery show featuring work by more than 30 artists honoring the television anthology and the horror titles on which it was based.
“I care about EC Comics very much. Even though I wasn’t around when it was originally published, the HBO Tales From the Crypt was an amazing intro into a demented world of darkly comedic horror stories and vivid artwork,” Mondo CEO Justin Ishmael said in a press release. “EC Comics’ editor Bill Gaines is one of my heroes and it’s so incredibly exciting to combine his creations with 30-something artists that are also fans of that era.”
The show, which will run from Oct. 25 through Nov. 23 at the Mondo Gallery in Austin, Texas, will original art and screen prints by the likes of Warwick Johnson Cadwell, Francesco Francavilla, Jeff Lemire, Chris Mooneyham, Ed Piskor, Jim Rugg and Eric Skillman. You can see more names on the postcard below.
DC Comics hasn’t had a particularly good run of things lately. To be frank, the publisher has done blown it a number of times over the past few years. But don’t worry, DC fans — I’m sure it’ll soon be Marvel’s turn, as the two rivals seem to trade off every five years or so.
I’ve been calling out DC for the past couple of weeks, but that doesn’t mean everything it does strikes me as wrong. It’s important to declare shenanigans, but it’s also important to recognize when a publisher does something that’s good for comics.
So here are six things DC is doing right:
1. Digital comics: Legends of the Dark Knight and Adventures of Superman are digital-first anthology series that feature some excellent creators (from Jeff Parker and Chris Samnee to J.M. DeMatteis and Jeff Lemire) producing completely accessible and entertaining stories that stand on their own; no college course on the New 52 or Crisis on Infinite Earths required. Yes, these stories are out of continuity — so for a percentage of readers, they don’t count. That’s a mistake, because there’s nothing wrong with a straight-up superhero tale that exists on its own terms. These two anthologies are the gems of DC’s digital-first line-up, but Batman ’66 and Batman: Li’l Gotham also offer fantastical takes on the iconic Caped Crusader that are bright and fun. For those exhausted by the angsty versions of serious stories, you owe it to yourself to check these out.
I read all 13 of the Villains Month issues released this week by DC Comics, and in so doing I saw 89 people killed (Kryptonians and Thanagarians included) in all manner of ways. I saw people shot to death with laser guns, with regular old bullet guns, with eye-beams, with an arrow and even with an umbrella. I saw people stabbed, bludgeoned, impaled, decapitated, blown up, pushed off buildings, flash-frozen and shattered. I saw someone’s neck snapped, someone’s life-force magically drained, people sliced in half with psionic energy, and others torn to pieces by claws.
I saw a bestial woman eat the still-beating hearts of her victims.
But man, the rabbit that Arcane tore in half? That’s the image that sticks with me from this week’s Villains Week offerings. Thank God they didn’t put that on the cover; imagine that arc of rabbit innards being flung your way in lenticular 3D!
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.
While American Vampire is currently on hiatus, creators Scott Snyder and Rafael Albuquerque have killed time until its return by releasing various specials. Earlier this summer we saw The Long Road to Hell, and this past Wednesday brought the American Vampire Anthology, featuring vampire tales by Becky Cloonan, Francesco Francavilla, Gail Simone, Greg Rucka, Jason Aaron, Gabriel Ba, Fabio Moon, Jeff Lemire, John Paul Leon, Declan Shalvey and many more.
Anthologies can be hit or miss from story to story, but how did this one do? Here are a few reviews from around the web:
Business | The Los Angeles County Board of Supervisors has approved Disney’s plan to build a 58-acre television and film production facility on the sprawling Golden Oak Ranch, near Santa Clarita, California. Located less than an hour north of Los Angeles, the 890-acre ranch has been owned by Disney since 1959, serving as the backdrop for projects ranging from Little House on the Prairie to Buffy the Vampire Slayer to Pirates of the Caribbean: The World’s End. ABC Studios has been producing more series than Disney’s Burbank facilities can handle, requiring additional sound stages to be rented. The new facility is targeted for completion in 2016.
Marvel Animation opened a new studio early last year in Glendale, just minutes from Disney’s Burbank lot. Marvel Studios later followed suit, moving from Manhattan Beach to new offices in Glendale. [TheWrap]
Jeff Lemire’s next big project for Vertigo, following his run on Sweet Tooth, kicked off this week. Trillium #1 sees Lemire return to both writing and art duties after a few months of focusing just on the writing half of the equation with comics like Green Arrow and Animal Man. Reuniting with colorist Jose Villarrubia, who worked with him on Sweet Tooth, Lemire “combines rich historical adventure and mind-bending science fiction into a sprawling, unconventional love story.” Plus, it’s a flipbook!
What did people think of the first issue? Here are a few thoughts from around the web.
The comic book annual has, in recent years, become an endangered species. Once an oversized, extra-length dose of the characters and concepts a reader could count on appearing once a year (or, you know, annually), the changing funny-book landscape has made them a less appealing proposition.
The rise of the graphic novel and trade paperback collections made “novel-length” adventures appearing in actual, off-the-rack comic books somewhat obsolete. The rising price of comics helped make annuals seem less practical; if a 20- or 22-page comic costs $2.99 or $3.99, a 48- or 56- or 64-page one would be prohibitively expensive. And with the shrunken market, it doesn’t make sense for a publisher to release an additional, extra-long issue of almost every title in its line.