"Supergirl" Casts its Lucy Lane
“I know it was a bit of heavy lifting for some of the longtime fans of the core characters on the book — and Newsarama fans haven’t been shy about voicing their complaints — but I can’t find it in my heart to apologize.
I was hired to write a series that started the team ‘on page one’ … no history, no preexisting relationships, for readers that were not familiar with the concept of Teen Titans. The new continuity being what it was, Bart could not have been Bart Allen from the future, Superboy could not have been a clone who spent the last few months living on the Kent Farm as Ma and Pa had died some 10 years ago, and on and on. … so while I wouldn’t expect anyone to agree with every choice I made or was handed, I will say I remain very proud of the book I’ve worked on for the last 30-odd issues.”
– writer Scott Lobdell‘s message to longtime Teen Titans fans as the DC Comics series heads toward its April cancellation
Passings | Animator and blogger Michael Sporn died Sunday in New York City from pancreatic cancer. He was 67. Sporn’s short film Doctor DeSoto, based on William Steig’s book, was nominated for an Oscar, and his The Man Who Walked Between the Towers won several awards. He created animated adaptations of a number of children’s books, including Lyle Lyle Crocodile and Goodnight Moon, for HBO. In comics circles, he was also known as a blogger who turned up cool bits and pieces of animation and art. [Variety]
Publishing | Torsten Adair crunches some numbers from The New York Times 2013 bestseller lists, looking at each category and, in some cases, each publisher separately and breaking down the charting books into easy-to-follow pie charts. [The Beat]
Summer is officially over, so this is a little late, but I’ve been meaning to talk about a certain arc from the summer of 1993. It was the height of the speculator bubble, when everything came with cover enhancements, trading cards, unfortunate hairstyles and/or superfluous pouches.
For many DC Comics readers, 20 years ago was also the summer of “Reign of the Supermen!” That’s not necessarily enthusiasm — the exclamation point was part of the title, which in turn was inspired by Jerry Siegel and Joe Shuster’s early proto-supervillain story, “The Reign of the Superman.” The third (and by far the longest) chapter of the “Death of Superman” saga began with teasers at the back of Adventures of Superman #500, published around April 15,* and ended with Superman Vol. 2 #82, published around Aug. 26.** Those four and a half months may not seem like much, but they saw 20 issues of the four regular Superman books (including Action Comics and Superman: The Man of Steel) spread over 20 weeks. In fact, “Reign” was front-loaded, with all four titles marking the official start of the arc on April 29 or so, two weeks after Adventures #500. That meant there were some weeks without a new installment, and those were sometimes hard to take.
“Reign of the Supermen!” is not the greatest Superman story ever memorialized in print. On one level it is very much a product of its era. However, for the Superman books, that era was energized not just by the efforts of their creative teams, but by the overarching framework the books had developed. While “Reign” wasn’t the only big DC event of the summer — for one thing, the debut of DC’s imprint Milestone Media has much more historical significance — it’s a reminder of the ebbs and flows of serial superhero storytelling, and it remains instructive today.
Warning: This is a very long post, because I think there’s a lot of background to be explored.
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!
Artist Ilias Kyriazis doesn’t say why his and Scott Lobdell’s pre-New 52 pitch for a Doom Patrol miniseries didn’t go anywhere, so while calling it “doomed” is technically correct, I’m not implying that it was shot down in any sort of malevolent way. There are many reasons that pitches and projects don’t get off the ground and, frankly, I’m not that interested in what most of those are. What I do love are cool, imaginative takes on familiar characters and this definitely falls into that category.
Kyriazis describes the concept this way:
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.
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.
Thanks to creators’ rights issues and the way DC Comics (and its corporate parent) chooses to treat the families of Jerry Siegel and Joe Shuster, a tragic, dissonant pall hangs over discussions of Superman. It makes a minor status-quo change, like the one used to hype this week’s Superman Vol. 3 #13, seem even more trivial. It’s often hard to reconcile the rich and fairly fascinating development of the world’s first superhero with the knowledge that the character’s creators didn’t (and their families don’t) share equitably in Superman’s attendant success.
Because Superman is so long-lived, the events of Superman #13 are a consequence of that success. They arise out of the perceived need to modernize a character who’ll be 75 years old next spring. However, the issue offers more subtle clues that the New 52 Superman may be changing in ways the hype doesn’t directly suggest. While I cannot ignore creators’ rights, today we’ll look at those clues primarily in the context of Superman’s overall history.
Now, when I say “larger history” I’m not kidding. As you know, Jerry and Joe’s creation debuted in 1938’s Action Comics Vol. 1 #1. Kal-L, son of Krypton’s Jor-L and Lora, was rocketed to Earth from his doomed homeworld, found by John and Mary Kent, and raised as their son Clark. After their deaths, he left his rural home for Metropolis, and as Superman fought there for truth and justice throughout the 1940s.
New Superman writer Scott Lobdell is wasting no time putting his mark on the relaunched series: With this week’s Issue 13, he shakes up Clark Kent’s life, as well as one of the foundational elements of the Man of Steel’s mythology. Warning: If you don’t want details of Superman #13 spoiled before Wednesday’s debut, turn back now.
Because it’s the first week of the New 52 Year Two, the time has come to review where I stand at the end of Year One. It also happens to be the week I’m away on a bidness trip, unable to react to whatever dern-fool thing DC did on Wednesday.
That would probably take a back seat anyway, because I’m a little curious myself to look back at these books. In terms of reading habits, it’s been a rather funky year. Some weeks I wouldn’t have time to read everything I bought, and sometimes that meant books just dropped off my radar. I caught up with a few of these, but a few I just didn’t miss — which, of course, is never a good thing.
You’ll remember that last year I bought all 52 first issues, and talked about each as September proceeded. Of those which remain, I am reading 27: Action Comics, All-Star Western, Animal Man, Aquaman, Batgirl, Batman, Batman & Robin, Batwing, Batwoman, Blue Beetle, Catwoman, DC Universe Presents, Demon Knights, Detective Comics, Firestorm, Flash, Frankenstein, Green Lantern, GL Corps, I, Vampire, Justice League, Justice League Dark, Stormwatch, Supergirl, Superman, Swamp Thing and Wonder Woman.
Additionally, I was reading six titles that have since been canceled: Blackhawks, JLI, Men of War, OMAC, Resurrection Man and Static Shock. For a while I also read Grifter, Red Lanterns, and Superboy. Filling in some of those holes are second-wave titles Batman Incorporated, Earth 2, Worlds’ Finest and Dial H.
To keep your eyes as glaze-free as possible, this will be a two-part survey. Today we’ll look at the Superman and Batman families, the “historical” titles, the main-line Justice League books, and a few others.
Publishing | May was a huge month for comics sales in the direct market, and John Jackson Miller quantifies just how huge: It was the biggest month for dollar sales in the “Diamond Exclusive Era” (i.e. since 2003): “Diamond’s Top 300 comics had orders totaling $25.72 million, an increase of 44% over last May and the highest total since Diamond became the sole distributor in 1997. It beats the total of $25.37 million set in December 2008.” [The Comics Chronicles]
Comics | Art Spiegelman is contributing a prescient New Yorker cover from 2001 to the Occupy Comics anthology; other creators who are contributing work include Alan Moore, Jimmy Palmiotti and Dean Haspiel. [Underwire]
History | Joe Sergi takes a look at the comics burnings of 1948, a series of disturbing events in which children, no doubt goaded on by well-meaning adults, collected comics door to door and then burned them in a public bonfire. [CBLDF]
Conventions | WonderCon was held in Anaheim, California, this year because the traditional venue, San Francisco’s Moscone Center, was closed for renovations. Heidi MacDonald wonders whether the shift will be permanent, and a lively debate ensues in comments. SFBay, meanwhile, informally surveyed exhibitors, and found many retailers saw a steep drop in sales from last year, while many artists saw an increase in revenue. [The Beat]
Retailing | ICv2 sees an uptick in manga sales in comics stores and speculates that the Borders bankruptcy has led readers to a variety of different channels, including the direct market, which could be an opportunity for comics stores to expand their customer base. [ICv2]
Digital comics | Digital distributor comiXology will offer HD versions of all its comics for readers who use the new third-generation iPad, and Jason Snell says the new retina display and the HD comics make for a much better reading experience. [Macworld UK]
In a week in which the debuts of Batman and Wonder Woman fired on all cylinders, you have to think DC Comics didn’t expect the spotlight to be stolen by the first issues of Catwoman and Red Hood and the Outlaws. Alas, online discussion over the past 48 hours hasn’t been focused on the accessibility of the former or the potential of the latter (if indeed either demonstrates accessibility or potential). Instead, it’s centered on a bra-flashing Selina Kyle engaging in aggressive costumed sex with Batman, and a semi-amnesiac Starfire who’s become little more than an emotionless sex mannequin.
I feel as if I should be worked up by the depictions but, to be honest, I’m just deflated by the whole thing. The best I can muster is, “Sigh … again?” and maybe, “This is the kind of storytelling and characterization you relaunched your entire line for?” But here are some of the highlights of what others are saying on the subject:
• Winick’s statement to Newsarama about the response to Catwoman #1: “This is a Catwoman for 2011, and my approach to her character and actions reflect someone who lives in our times. And wears a cat suit. And steals. It’s a tale that is part crime story, part mystery and part romance. In that, you will find action, suspense and passion. Each of those qualities, at times, play to their extremes. Catwoman is a character with a rich comic book history, and my hope is that readers will continue to join us as the adventure continues.”
If you thought the DC Comics New 52 trailers were done, think again. Teen Titans artist Brett Booth has posted one on his blog featuring the latest version of the young heroes.
Teen Titans #1 by Scott Lobdell and Brett Booth arrives in stores Sept. 28.
Movies | National Public Radio commentator John Ridley critiques Hollywood for being even less diverse than the Big Two when it comes to diversity in lead characters, and demolishes their blame-the-audience theory that white people won’t go to see a movie with a black lead by pointing to a study by Indiana University professor Andrew Weaver: “Weaver found that white audiences tended to be racially selective with regard to romantic movies, but not necessarily when it came to other genres. So, sorry, Hollywood. You can’t blame it on the ticket buyers.” [NPR]
Creators | Becky Cloonan talks about the joys and the hardships of being a full-time comics creator: “Comics are hard work. Comics are relentless. Comics will break your heart. Comics are monetarily unsatisfying. Comics don’t offer much in terms of fortune and glory, but comics will give you complete freedom to tell the stories you want to tell, in ways unlike any other medium. Comics will pick you up after it knocks you down. Comics will dust you off and tell you it loves you. And you will look into its eyes and know it’s true, that you love comics back.” [Becky Cloonan: Comics or STFU]