EXCL. PREVIEW: "All-New X-Men" #41 Takes the Fight to the Utopians
Some months the solicitations don’t inspire much in the way of analysis. The superhero serials just sort of chug along, and maybe there’ll be an unusual creative team or an idiosyncratic collection to enliven things. Not so with DC’s October solicitations, which include a number of new series, storylines, and creative changes.
This next bit will sound conspiratorial, but I don’t think it’s an unreasonable supposition. I believe — or at least I would not be surprised to learn — that all these debuts and changes are starting in October because that will give them at least six issues to resolve themselves before the big springtime move to the West Coast. For example, six issues is pretty much the minimum for a collection, so if any of the new series just drop immediately into the sales cellar (I’m looking at you, Klarion; say hi to GI Zombie), DC can still have enough for a trade paperback. That’s not to say a reboot is inevitable next spring — notwithstanding one panel in Robin Rising that should jump-start such talk — but I could see a good bit of the superhero line taking a potential victory lap over the fall and winter. (Apparently I am not alone in thinking this.)
(Note: Post title is taken brazenly from a Mystery Science Theater 3000 riff on the serial The Phantom Creeps.)
When DC announced Grayson in April, I wrote about the dangers of separating Dickie G. first from his mentor, and then from his friends in the Titans. Because Grayson is predicated on removing Dick from the superhero realm entirely, I’ve been ambivalent (at best) about this book. Even after reading the first issue — which was a good introduction to the series, and which stood on its own nicely — I still have some concerns. Most of these come from a desire (perhaps unwarranted) to judge a series in a larger context. Therefore, today we’ll talk both about the debut issue of Grayson (written by Tim Seeley and Tom King, drawn by Mikel Janín, and colored by Jeromy Cox), and whether that sort of big-picture evaluation is fair to it.
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First let’s get some of the obligatory historical perspective out of the way. Dick Grayson has been around for almost 75 years, longer than just about all of DC’s A-listers, including The Flash, Hawkman, Wonder Woman and Green Lantern. Moreover, Dick/Robin has been adapted for various non-comics venues for almost as long, starting with radio and movie serials in the 1940s and continuing right through to today’s Teen Titans Go! Many of these more recent adaptations either alluded to, or showed directly, Dick’s transition to the Nightwing identity; and collectively they speak to the general public’s awareness of the character and his particular dramatic functions.
Longtime DC Comics readers will undoubtedly recall Composite Superman, the green-skinned Silver Age villain who, dressed in a costume that was past Superman’s and part Batman’s, possessed the powers of the Man of Steel as well as those of the Legion of Super-Heroes. But how about Composite Aquaman? Or Composite Harley Quinn?
While they don’t come with superhuman abilities (as far as we know), Funko’s newly announced line of DC Comics Vinyl Cubed 2.5-inch magnetic figures that allows collectors to mix and match body parts of their favorite heroes and villains. The head of The Joker on Bizarro’s body? Sure. Robin with Harley Quinn’s arms? If you want.
If you’re a comics fan with a near-religious devotion to your favorite superheroes, do we have a window treatment for you: Marissa Garner has created a stunning series of prints that imitate the look of stained glass and features everyone from Batman and his allies to Spider-Man and his rogues to Sailor Moon.
What’s more, they’re printed on transparency paper, and can be attached to a window, creating that instant cathedral effect.
Check out some of Garner’s print below, and even more on her Etsy page, where they can be purchased.
This has turned out to be an eventful week for fans of the first Robin (and of the role in general), thanks to a Robin Rises one-shot, leading into the unveiling of … well, whoever’s going to wear the red vest for the foreseeable future, and Dick Grayson’s latest relaunch, a July-debuting ongoing series called simply Grayson, wherein the former Boy Wonder will start a new life as a super-spy.
With each of ‘em about three months away, obviously I’m not equipped to pass judgment on the merits of either. However, I can tell you what I think about Dick and Robin, how those impressions affect my snap judgments, and why you should — and shouldn’t — listen to someone like me.
This is particularly timely, considering today’s television casting news: Project: Rooftop showcases Perry Maple’s whimsical redesign of Batman and his allies and enemies, from Robin to Scarecrow to Two-Face.
“The aim for this redesign was to create a colorful, simple, and playful reimagining of the Gotham city universe,” the artist explains on his deviantART page. I think he achieved that goal, too, particularly with Catwoman, Poison Ivy and Harley Quinn, who look as if they stepped out of a fairy tale. However, I also really like is older take on Selina Kyle in a decidedly different style.
Check out close-ups of some of Maple’s redesigns below, and visit his deviantART page for more.
Naturally, now I’m having reservations. My wellspring of fannish entitlement tells me that Wally comes with certain Implications. It may not be enough simply to reintroduce some guy who happens to have the same name, because Wally has his own 50-plus years of history.
And that’s a perfect segue into another recent announcement: An ongoing Secret Origins series sounds like it could serve much the same purpose as the last SO ongoing (1986-90). That series ran for 50 issues, plus various annuals and specials, and it helped organize various bits of continuity in the wake of Crisis on Infinite Earths. For example, 1986’s Secret Origins debut spotlighted the Golden Age Superman, in a story by Roy Thomas, veteran Super-artist Wayne Boring and inker Jerry Ordway; and the first New 52 issue will feature Superman, Supergirl and Dick Grayson’s Robin origin.
I am cautiously optimistic about both of these announcements, but on balance I am a bit more excited for Secret Origins.
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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As we’re unlikely to get another Marvel/DC Comics crossover any time soon, this video of the dorkiest MMA match ever may be the best opportunity to witness Spider-Man go toe-to-toe with Batman and Robin.
At first blush, you may think the highlight of the fight is the introduction of the World’s Scrawniest Detective or the early exit by the injured Boy Wonder, but I would argue it’s the hilariously straightforward play-by-play from the British commentators. For instance, “Nice mobility from Spider-Man. I mean, I noticed he was at a disadvantage initially because he didn’t have his web-shooters — he wasn’t allowed those, which I think is a bit unfair given the circumstances that he’s against two of them.” Or, “That’s a Superman punch there, Will, which is ironic seeing as how he’s Spider-Man from Marvel Comics.”
Clearly, the announcers were in Spider-Man’s corner from the start …
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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There’s no solicitation for Justice League 3000 in November, and it’s not hard to imagine why. Reworking a first issue from scratch, with a new artist and what sounds like a new tone, undoubtedly isn’t something even one of the Big Two can do on short notice. Instead, DC Comics goes back to the Bat-well both for November’s only new series, and to goose the sales of various superhero titles.
As always, though, there’s enough in the new batch of solicitations to keep us busy this week — so without further ado …
ALWAYS BET ON BLACK
Apparently “Zero Year” will include a “Blackout In Gotham” plot point that can stretch into a dozen other DC titles, including non-Bat-books like Action Comics, Green Arrow, Green Lantern Corps and The Flash. This makes a certain degree of sense, as it takes place back in the “before-time” of the George W. Bush administration, before the various superhero jurisdictions were established, so you’d expect someone like Superman to take a road trip if he thought Gotham needed him. However, thanks largely to this being Scott Snyder and Greg Capullo’s Batman, the blackout — which, as far as I can tell, would otherwise be just one part of one title’s flashback storyline — ends up involving more books than DC’s actual line-wide Big Event, Forever Evil. The latter includes the eponymous miniseries, three ancillary miniseries and the three Justice League books, but only two other ongoing series (Teen Titans and Suicide Squad, each of which has been tied into 4EVEv since it started). The total is “Zero Year” 13, Forever Evil 9, and almost half of the latter’s score is miniseries. Personally, I don’t mind a discrete Big Event, and I’m not surprised that DC would exploit “Zero Year.” I’m just a little surprised at how heavily it seems to be relying on “Zero Year” in November.
You may remember the story of an antisocial teen working his way into Bruce Wayne’s life, and even becoming part of his family, before dying in a Robin costume.
You might also remember this story being called “Punish Not My Evil Son,”* as told by writer Bob Haney, penciler Neal Adams, and inker Dick Giordano (note: GCD credits Adams), in The Brave and the Bold vol. 1 #83 (April-May 1969).
Like much of the Haney oeuvre, “Punish” depends on unique circumstances that otherwise might not fit well within Batman’s shared universe. Young Lance Bruner, who’s around the same age as teenager Dick Grayson, is the son of one Prof. Bruner, Thomas Wayne’s “closest friend.” When we first meet him he’s horsing around with a couple of Wayne valuables and smarting off to Alfred, so already he’s off to a bad start. However, he shows Bruce an agreement signed by both Prof. Bruner and Dr. Wayne, which provides that “if anything ever happen[s] to the professor[,] the Wayne family promises to adopt and raise Lance.” Indeed, Bruce remembers seeing baby Lance in his dad’s arms, and recalls further that the professor was “the finest man I’ve ever known … besides my own dad!” Lance has already tearfully played the orphan card, so Bruce reminds a skeptical Dick how a certain other kid came to live at Wayne Manor — and away we go.
It looks like June is shaping up to be pretty big for DC’s superhero comics. There are five new ongoing series, including Superman Unchained, Batman/Superman, Larfleeze, Pandora and, best of all, the return of Astro City. Scott Snyder and Greg Capullo kick off a revised Bat-origin in “Zero Year,” and the Green Lantern books get new creative teams. (There are spoilers for those GL books in the solicitations, but if you’ve been paying attention it’s probably nothing you haven’t already figured out.)
FIRST, AN ENDING
The “Shazam!” conclusion takes up all 40 pages of Justice League #21. It’s been a long time coming — starting way back in Issue 7, getting a 23-page spotlight in Issue 0, and skipping issues 12, 13 and 17. In the end it should clock in just shy of 200 pages, which would have made it a robust nine-issue miniseries. By comparison, Geoff Johns’ and Gary Frank’s Batman: Earth One graphic novel was 138 pages. It may read better as a collection, because it hasn’t always seemed paced for a series of backup stories. Being absent from Issue 17 hasn’t helped either. Still, it should have three straight installments between now and June, so maybe it’ll finish strongly.
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Comics | Reporter Henry Hanks asks three experts about the increasing tendency toward “headline-grabbing plot twists” in comics, such as the death of Damian Wayne, and which ones they think have been the most successful. “I strongly believe that The New 52’s Batgirl can be seen as a great example of a major plot shift or re-imagining of a story that required readers to let go of a long-loved character (Oracle) and begin to believe in Batgirl as a new character, one who’s recovered from a life-threatening attack,” says Dr. Andrea Letamendi, a clinical psychologist and convention speaker. “The character essentially presented the determination, resilience and psychological strength that she needed to put the cape back on after a severe injury, just as readers were challenging her ability to represent a strong rebooted character. It’s as if we could relate to the weight on her shoulders, because we were a part of that process. [CNN]
When Batman and Robin #18 arrives in stores Wednesday, you’ll notice the cover by Patrick Gleason and Mick Gray is decidedly different from the one solicited by DC Comics in December. Gone are the hopeful red hues of a Gotham City at sunset, replaced by the somber blue-gray tones of night.Gone, too, is what might be mistaken for a grin on Bruce Wayne’s face, now eclipsed by shadow.
And oh, yeah, it’s also missing a grinning Damian Wayne, soaring through the air at his father’s side, replaced by the darkness within the folds of Batman’s cape. Never has Gleason’s skull-shaped signature seemed more appropriate.
While the other Bat-Family titles receive completely new covers for the “Requieum” storyline, which deals with the aftermath of Damian’s death in Batman Incorporated #8, Batman and Robin #18 is the only one to boast a modified image — one made more eerie by the absence of Robin.
It’s an entirely silent issue,” writer Peter J. Tomasi told Comic Book Resources. “No text, no sound effects, storytelling at its purest form — show don’t tell — and, holy crap, does Patrick Gleason show why, in my humble opinion, he might be one of the best Batman artists ever. He knocks it out of the park.”