This is a thread to talk about DC Comics.
DC Comics Thread
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I wonder if it’s just too niche nowadays, even with a big name like Ellis and good reviews that book sold pretty poorly. It probably wasn’t a hard decision to bin it off when the art problems happened. Despite the constant refrain that comics fans are all over 40 the actual Nielsen demographics suggest otherwise and maybe the bulk of readers no longer have any attachment.
I’d worry the same about Milestone to be honest but maybe the Static Shock cartoon of the mid 2000s gives it a higher general profile.
Yeah, I think you’re right that in the case of Wildstorm it’s all playing to that dwindling older audience. And Ellis’ reboot seemed to quite consciously play to existing fans rather than newcomers, which was part of it.
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It seems like whatever problems the Ellis reboot ran into have scuppered Wildstorm as its own standalone universe. But I agree it never feels like it works as part of the DCU.
I always felt that way about integrating Shazam/Billy Batson into the DCU — it didn’t feel natural in the 1970s, and he still doesn’t feel like he belongs among Superman, Wonder Woman, etc. And yet, there he is.
I love the WildStorm Universe, including the recent Ellis reboot effort; but I don’t follow the DCU, so I’m not likely to buy these new WS books.
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So there it is. DC Universe becomes DC Universe Infinite, and it's all comic books, including their digital exclusive series.
– New comics on the service after 6 months, not 12.
– Available internationally.
– DCU app leaving all smart tv devices (where's my HBO MAX Roku app???)— Ryan Higgins (@RyanHigginsRyan) September 18, 2020
At last! Assuming similar pricing to Marvel Unlimited that’s my method of reading big two comics new and old from now on.
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Summer 2021 for the international launch. $75 annually. $8 per month. I’ll be subscribing as soon as I can, methinks.
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It’s times like this we need Chris Striker.
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Grant Morrison and Yanick Paquette Return to Themyscira to Complete Their Earth One Trilogy
Great stuff. I loved the first two.
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Future State: what to expect from the next DC event (hint: not a reboot) – Newsarama
DC has told us more about the Future State event in January and February than you may realize
some bits and pieces, basically more speculation if you click the link
‘Future State’ takes place in January and February…
January 5’s Dark Nights: Death Metal finale leads directly into the 80-page Generations: Shattered #1 (which looks very much like it’ll be the first of bookend chapters), that same week, which in turn leads directly into ‘Future State.’…
every single remaining core DC Universe series either concludes a story arc in December or isn’t in a multi-month arc…
So every mainstream DCU title has no story baggage in January or February. A clean slate…there is a key aspect to DC’s long-term plans we haven’t mentioned yet – its digital publishing strategy, now even more important with the relaunch of the repurposed DC Universe Infinite digital subscription service.
We’ve heard chatter, though unconfirmed, that the original designation of ‘5G’ was something of an ironic linguistic nod to the importance of digital to DC’s future…1 user thanked author for this post.
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Grant Morrison shelves his planned Batman: Arkham Asylum sequel – Newsarama
Morrison’s plan for Damian Wayne to become Batman has been put on hold
If you’ve been looking forward to Grant Morrison’s sequel to his Batman OGN Arkham Asylum: A Serious House on Serious Earth, we’ve got some bad news – the writer has said that the project is on hold.
Originally announced at the 2017 Comic-Con International San Diego, Arkham Asylum 2 would have picked up from the writer’s 1989 OGN with an aim to be “the best Batman book there’s ever been.” Whereas Dave McKean painted the original story, Morrison’s Batman Inc. artist Chris Burnham was slotted in to draw the sequel. Arkham Asylum 2 was to star Damien Wayne stepping up to become the next Batman.
So what happened to the sequel? Well, Morrison says he’s too busy with TV projects.
“I kind of wrote 26 pages of it, and it got shelved because the television work was taking up so much time,” Morrison told TechRadar’s Samuel Roberts. “But again, I never say never because I think [those] 26 pages were pretty good.”
Morrison and Burnham recently reunited for a short story in the Detective Comics #1027 anthology, and the writer admits it did rekindle the idea of finishing Arkham Asylum 2 someday.
“It gave me the taste again because he was going to draw the second Arkham Asylum, too,” Morrison continued. “But no, I had a story – it’s very, very, very different from the original book. It was more of a Philip K. Dick thing. It’s still there. It’s still one of these things that may happen.”
Morrison co-wrote the recent Peacock/Sky One series Brave New World. He’s currently working on an ongoing comic book series called Proctor Valley Road for NBCUniversal’s subsidiary Universal Content Productions. In 2018, Morrison signed a multi-year TV deal with the company.
While Morrison and Burnham’s OGN about Damien Wayne becoming Batman might never happen, DC recently announced a Batman limited series featuring another potential successor to Bruce Wayne – possibly a member of Lucius Fox’s family – by writer John Ridley and artist Nick Derington.
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A sequel to Arkham Asylum was a weird idea. A Morrison/ Burnham OGN starring Damien Wayne’s Batman from #666 could have been a lot of fun. I hope that still happens someday, but won’t hold my breath.
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A sequel to Arkham Asylum was a weird idea. A Morrison/ Burnham OGN starring Damien Wayne’s Batman from #666 could have been a lot of fun. I hope that still happens someday, but won’t hold my breath.
I thought that was the idea. Adult Damian going into Arkham like Bruce in the original. But I could be wrong.
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I was just saying that a sequel to Arkham Asylum doesn’t feel necessary to me. But, I’m totally in for a Morrison/ Burnham Damien OGN. It certainly doesn’t have to slavishly follow the structure of AA.
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Locke & Key is going to Sandman’s Hell in its first ‘and probably last’ big crossover
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The pair are very aware of the risks of doing a crossover just for the sake of it. “As a kid, I could never resist a great crossover,” Hill said. “If the DC characters were going to meet the Marvel characters, I was there. But grown-up me knows that most of those comics actually weren’t very good.”
Their aim with Hell & Gone is to honor the spirit of Sandman, a book that Hill and Rodríguez agree was a formative influence on Locke & Key, while also telling a new story with “emotional weight” of its own. And they might actually be able to pay it off, because Hell & Gone isn’t just a throwaway spinoff — it’s actually paying off the last decade of Locke & Key comics.
The original series told the story of the modern-day Locke family — Tyler, Kinsey, and Bode, who you might recognise from the Netflix adaptation — and wrapped up in 2013. Around that time, Hill and Rodríguez started releasing one-off stories that filled in the history of the Lockes and their keys. These have been rather sporadic, to put it mildly (the first short, “Open the Moon”, came out in 2011) but they’ve gradually come into focus as part of a larger story, The Golden Age, which tells the story of Chamberlain Locke and his children in the early 20th Century.
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I recall, but I’m not sure I’d call many of the original Black Label takes on the characters “classic” either – Damned, Last Knight, Dead Earth, Year One, White Knight.
The newer books like Three Jokers and the new John Constantine book are certainly more classic interpretations. Although two instances is too soon to call it a trend, I suppose.
The more interesting implication is on the regular mainstream DCU books. If the shackles are off, and the creative teams of the main books can now make real changes to the status quo, and take greater storytelling chances (because they no longer have to protect the IP), then we could be headed towards a really interesting time for the “in continuity” DCU too.
Tynion’s Batman is a good example of this. I’ve said beforehand that he has been allowed to do things as part of Joker War that I couldn’t have imagined editorial signing off to beforehand. If this becomes widespread across the line, I think it’ll be quite exciting.
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I’ll be skipping Future State. There’s nothing in the solicits of any interest to me.
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DC Solicitations for January- Continuum link
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Bastet. #Catwoman #EarthaKitt pic.twitter.com/fXr2itZFH9
— Otto Schmidt (@OttoSchmidt72) October 14, 2020
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What about the Stormwatch one?
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The creative and editorial teams for StormWatch actually made the effort to steer the storyline in the 22nd, 23rd and 24th issues to tie into the events previously written about in the premature 25th issue. Not seamless, but a decent segue.
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The creative and editorial teams for StormWatch actually made the effort to steer the storyline in the 22nd, 23rd and 24th issues to tie into the events previously written about in the premature 25th issue. Not seamless, but a decent segue.
Which led to that book’s most dire stretch, which led to Ellis taking over, which led to Authority, which led to Millar’s Authority, which ultimately led to here.
I don’t remember the men who put together Stormwatch 22-24, but they are unsung heroes.
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I don’t remember the men who put together Stormwatch 22-24
Or women!
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I don’t remember the men who put together Stormwatch 22-24, but they are unsung heroes.
Ron Marz was writing, IIRC, with someone like Renato Arlem on art – one of the C or D list artists that Wildstorm deployed to keep their books shipping when the bigger name artists had all moved on elsewhere.
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The story in Stormwatch 25 led to this. Two of these characters made it to Ellis’ Stormwatch, and only one made it to the Authority. I miss Sword Guy and Captain Obviously Native American.
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Man, Ron Lim has such a unique style… he never got the credit he was due…
He is one of those journeyman artists that is consistent and reliable. I think his best work was on Silver Surfer. He really made him look metallic. He was also great on the various Infinity series.
Paul Pelletier is another one of those artists. His work has great energy dynamism.
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DC ends relationship with distributor UCS
UCS and Lunar were DC’s surprise replacement for Diamond this spring but now UCS and DC are parting ways in 2021
DC and UCS Distributors are ending their Direct Market partnership as of January 1, 2021, as announced in letters to comic book retailers from DC and UCS, respectively.
“In April, UCS Comic Distributors and Lunar Distribution partnered with DC to transition to a multi-distributor model for the Direct Market, at a time when comic book distribution was on pause and the supply chain disrupted as a result of the safer-at-home orders that were put in place,” reads DC’s letter to retailers.
“We are now in our next phase where, as of January 1, 2021, DC publications will continue to be distributed in the Direct Market by Lunar Distribution, Diamond UK, and Penguin Random House (for graphic novels and collected editions only). UCS Comic Distributors will no longer distribute DC publications, but retailers can continue to order from UCS through the end of November.”
UCS was created in the spring as an outgrowth of Midtown Comics, who already had a robust mail-order retail comic book business.
UCS and Lunar replaced DC’s long-time exclusive distributor Diamond Comics Distributor in a surprising and high-profile split in the spring that retailers reacted negatively to.
The Direct Market is made-up of specialty shops that purchase comic books as non-returnable items for a steeper wholesale discount. This method became the dominant means of comic book distribution in the 1980s. The alternative newsstand market which dominated distribution prior to the Direct Market allows retailers like convenience stores to return unsold items to their publishers for a refund.
“We want to take this time to sincerely thank UCS for their help during this transition, and we will continue to provide all our support to UCS as retailers shift their accounts over to Lunar or other distributors,” continues DC’s letter.
DC originally recommended retailers in the U.S. and Canadian retailers on the west coast choose Lunar and those on the east coast choose UCS to maximize shipping timelines although it was never a requirement.
The switch to Lunar (which is an outgrowth of the online retailer Discount Comic Book Service or DCBS) carries with it some changes that could potentially affect comic book specialty shops. As of the Final Order cut-off date of December 6, 2020, the publisher is now requiring that orders placed through Lunar total a minimum of $125 (USD) per weekly order based on retail sales value (cover price), or a total $500 monthly.
John Jackson Miller of Comichron reports that may not be an insignificant sum for retailers who only offer comic books as a secondary item or who specialize in graphic novels over monthly periodicals.
“…while that doesn’t sound like a lot, Diamond was servicing many game stores and hobby shops that carried comics as a sideline; there are also shops that specialize more in graphic novels and less in periodicals,” writes Miller.
DC’s letter concludes by stating it “remains committed to comics shops as the cornerstone of our industry.”
“This community is the source of countless stories and relationships that inspire us and our fans every day. We thank you for your support, and we will continue to provide business updates as they happen.”
In their letter, UCS wrote, “We are very proud of the role we played in transitioning DC during this unprecedented time.”
All industry eyes will now be on Lunar as it transitions to handling all of DC’s North American specialty market distribution and likely amp up speculation of a potential reconciliation with Diamond.
The changeover to Lunar will be just in time for DC’s Future State event that begins in January.
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Likely due to UCS being a disaster – DC books have taken months to hit the wider market, probably with a loss of sales and interest with it.
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Two Black former DC Comics editors describe the career obstacles they faced, from white leadership saying they’d never be promoted to their achievements being undercut
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Silver Surfer really was his peak, and I mark him as that character’s greatest artist (Moebius did a great Silver Surfer story). No one before or since has done the Surfer justice.
I miss that series. It was my first subscription, just based on the advertisement alone. He looked so cool.
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DC Comics Promotes Marie Javins to Editor-in-Chief
In her new role, Javins will be responsible for developing and overseeing the execution of the company’s annual publishing schedule to grow all DC imprints. She’ll also lead the strategy for expanding worldwide consumer reach of DC Publishing content and provide editorial and creative direction for DC imprints. Working closely with Cherry and Jim Lee, DC Comics’ publisher and chief creative officer, she’ll help define positioning, character narratives and prioritization, creative talent selection and brand attributes of each imprint and develop publishing plans with lead editors.
“As a young girl devouring comics of Wonder Woman, Nubia and Supergirl, I never dreamed that decades later, I’d be at the helm of the mighty DC Comics,” said Javins. “I’m incredibly honored by this responsibility, and will dedicate myself to supporting and challenging DC’s extended family of staff, talent, retailers, and partners around the world in our quest to tell innovative visual stories that both reflect and expand our world—and in some cases, our galaxy and multiverse.”
Prior to her promotion, Javins served as DC’s executive editor of global publishing and digital strategy, where she edited such acclaimed titles as “Justice League,” “DC Super Hero Girls,” “Exit Stage Left: The Snagglepuss Chronicles,” “Superman Smashes the Klan,” “Harley Quinn: Breaking Glass” and “Dark Nights: Death Metal.” She joined DC in 2014 in a temporary position to help the company transfer its businesses from New York to Burbank, Calif., and then relocated to join the staff.
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DC Solicitations for February 2021 – CBR link
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Vixen Takes Center Stage in DC’s New Digital First Series, Truth & Justice!
DC’S NEW ANTHOLOGY COMIC SERIES, TRUTH & JUSTICE, TO COMBINE FRESH NEW STORYTELLING TALENT
WITH THE WORLD’S GREATEST SUPERHEROES!
Vixen Soars Into Action With the Launch of a Dynamic New Anthology Series
Series Debuts Digitally January 8, 2021 With Chapters Collected in Print, Available February 16, 2021
This January, the ideals of truth and justice—concepts synonymous with DC’s superheroes from the Golden Age of Comics to the present day—are the foundation for a new anthology comic book series, Truth & Justice. This series continues in the tradition of popular DC titles such as Adventures of Superman, Sensation Comics, and Legends of the Dark Knight, exploring the length and breadth of DC’s rich character history. In addition, the series will serve as a platform for new, emerging storytellers to reveal their takes on popular DC characters.
Truth & Justice debuts digitally on January 8, 2021, with the first of three 99-cent weekly stories, which will be collected as a 40-page print issue available February 16, 2021. Vixen makes her Truth & Justice entrance in a story written by Geoffrey Thorne (Future State: Green Lantern, Law & Order: Criminal Intent, Marvel’s Avengers: Black Panthers Quest), with art by Chris Cross and Jordi Tarragona.
Mari McCabe is many things: superhero, model, activist; but can she add god-killer to the list? Vixen teams up with Dr. Mist and Impala of the Global Guardians to face down an ancient deity that’s taken over the body of a scientist investigating powerful magical artifacts. Vixen will need to dig deep and use all the abilities in the animal kingdom to face down this powerful primeval threat!
Subsequent installments of Truth & Justice will showcase the heart and spirit of the wide-ranging characters featured across DC’s Multiverse. With an endless array of characters to choose from—heroes, villains, aliens, animals—you name it, we have it!
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Jim Rugg and Ed Piskor did a video on ASGDBARTRBW and it’s amazing:
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Well, seems like the time will be coming when I buy little DC, the future:
- Out but unavailable easily at good prices: Batman Dini Omnibus, Lucifer Omnibus 2, Green Lantern Earth One 2, Wonder Woman Dead Earth
- Upcoming:
- Dec: Justice League OHC2 – Snyder, worth it?
- Jan: Jons Flash Omnibus 2
- May: Constantine: Rise & Fall – Taylor and Robertson, probably worth a look.
But after this? Near Mint Condition did a run through of planned DC trades for May to August 2021. Of that lot? Just one item – Batman Earth One 3. That’s it.
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cbr.com/Five_reasons_why_that _is_the_best_slogan_ever_and_ five_reasons_why_it_sucks
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bullshit article that totally isn’t a rickroll
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Dammit!!!!
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It does fix the ads, I’ve used the browser on my phone for a long while, but it doesn’t fix the shite.
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So I was thinking DC should be announcing soon who is going to take over the Superman titles in March.
Can they bring Mark Waid back into the fold?
And then what is Bendis going to do? Is he going to take on more DC work?
Morrison’s run of Green Lantern is almost over. Who gets that (w/GLC)?
Just speculating/wondering…
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Future State: Superman writer says the Man of Steel “shows us who we’re supposed to be”
Writer Phillip Kennedy Johnson describes his love for Superman and preview his two Future State Superman titles
Mikel Janin art from Superman: Worlds of War #1In January DC goes back to the future in a two-month event that will offer readers a glimpse of the DC Universe in various near- and far-flung futures.
Future State takes almost all of the publisher’s core continuity ongoing series off the schedule for January and February, replaced by anthologies, short series, and specials.
Writer Phillip Kennedy Johnson (DC’s The Last God, Marvel Zombies) has been tasked with creating two distinct futures for Clark Kent in two different titles – one (the lead feature of the two-issue Superman: Worlds of War anthology with art by Mike Janin) in which he’s left Earth and Metropolis in the hands of Jonathan Kent to fight in the gladiatorial pits of Mongul for unknown reasons and another (the Superman: House of El one-shot with art by Scott Godlewski) set in a far more distant future in which Clark is the seeming patriarch of new generations of Kryptonian heroes including some of his own descendants
Johnson, who declined to respond to our question of whether his two-time Future State association with Clark Kent and Superman will continue in March when the currently writer-less Action Comics and Superman ongoing titles return to DC’s schedule, did, however, answer our questions about Worlds of War and House of El, including the age-old question of whether Superman – who he calls one of his “lifelong comic book heroes” – is difficult to write for.
Newsarama: First of all Phillip, how did you wind up with not one but two Future State Superman stories featuring Clark Kent?
Phillip Kennedy Johnson: If there’s one thing I love to do in comics, it’s worldbuilding. Comics is the ideal medium for it, and I’ve gotten some amazing opportunities to do it: with Warlords of Appalachia at Boom! Studios, in the world of The Dark Crystal at Archaia, Marvel Zombies at Marvel, and most notably with The Last God at DC.
If Future State is one thing, it’s ambitious, and it seemed like DC wanted to go big and epic with the Superman books in particular. I think some of the world-build-y series I’ve written recently helped get me on their radar, and I’m mad excited to get a chance to write one of my lifelong comic book heroes.
Nrama: Superman is always that character we have to ask – why Superman? Arguably the most iconic fictional character in any medium … also arguably difficult to write for.
First of all, do you buy into the notion that his omnipotent power makes him hard to create conflict for?
Johnson: No, I’ve never understood that perspective about Superman. Superman is defined as much by his compassion for all living things as he is by his physical strength. There are tons of stories in which Superman is challenged physically, but that aside, anyone who cares as much as Superman does about people, about life, about justice, has plenty of potential conflict. And it’s even better these days because he has a family, a son. Superman is supposedly “invulnerable,” but I’m here to tell you: he is not invulnerable. Having a child is the ultimate vulnerability.
Nrama: The flipside to that question is what is the appeal of the character for you?
Johnson: In simplistic terms: he just feels so good to write! Superman inspires people. Certainly, he inspires me. He shows us who we’re supposed to be. He cares about everyone, even his enemies. He’s a man of almost absolute power, but also absolute compassion, kindness, humility. Having a character like that in my head just makes me want to be more than I am.
On top of all that, the addition of his son to his mythology makes him a dream character to write. Superman’s love for all life can be expressed on the page through his love for his only son, and it makes him so relatable. I think most readers know what it’s like to care about someone that way, that willingness and desire to do anything for someone.
Nrama: In Worlds of War, Superman is distinctively older and off-world. Not all Future State titles are set in the same time period. Does your story co-exist with the stories where Jon is Superman on Earth and in the Justice League, or is it different time periods? If the same, does Jon’s role on Earth inform your story at all?
Johnson: Worlds of War takes place at approximately the same time as Superman of Metropolis, and yes, it does refer a little to what’s happening with Jon. That said, you don’t need to buy both books to understand either story, they don’t rely on each other at all.
Nrama: The movies Man of Steel and Justice League: Dawn of Justice touched on Superman’s difficulty finding a place on Earth. Does the premise of your story touch on a similar premise or are the circumstances that seemingly drove Clark from Earth different?
Johnson: In Worlds of War, there’s an element of mystery regarding why Clark left Earth, and possibilities why he might have left and where he might have gone are explored before we see where Clark actually is and what’s happened to him. Whereas those movies you mention show Clark finding his place on Earth, an important part of Worlds of War is Earth finding its way without the original Superman, and showing how Earth remembers him after he’s gone.
Nrama: What else can you tell readers about your story in Worlds of War?
Johnson: Worlds of War is a love letter to Superman #400, an extremely ambitious and artistic anthology from 1984.
That book really inspired me, even as a kid. It explored all the things Superman means to the world, and ways he could be remembered in the future…it was such a profound exploration of the character, and with as mind-blowing an opportunity as Future State is, I knew I wanted to draw on that for Worlds of War.
And Mikel Janin is the best artist imaginable to tell a story like this. It’s hard to say “best work of his career” because he’s been pumping out so much transcendent work for so long, but I’ve never seen anything better from Mikel than this. He’s incredible.
Nrama: We believe you’re the only writer with a Future State one-shot debuting in February. What can you tell readers about Superman: House of El?
Johnson: House of El is a glimpse into the far future, as epic a story as I could conceive of fitting into 48 pages. DC characters and storylines are so dynamic and things can change so much in so short a time, the prospect of imagining the El family line 1000 years in the future was a pretty daunting task at first. But I filled in generations of backstory, imagined what might have happened to Clark in the years to come, who he lost, other relationships he might have had across the centuries, and at the end of that family tree, I had a cast of characters who felt like a noble house in the culmination of a far-flung fantasy epic.
I decided to embrace that and treated the story like we were seeing the last days of Camelot or something: something in line with the epic poems, like Beowulf or the Song of Roland.
Scott Godlewski’s art has been next level, his action scenes are always some of the most dynamic on the shelves, and this book is definitely no exception. House of El has been a complete blast to work on, and I can’t wait for people to read the mythology we created for it.
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Idle speculation/ personal wish list for March:
Tynion on Batman (reduced to monthly), and Gotham Knights (new Bat-family focused title).
Bendis gets the Justice League titles as an interconnected family of books.
Waid on Superman/ Action Comics, and a Wally West Flash book.
Williamson on Green Lantern and a Titans relaunch.
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I can get behind that. I would also not be opposed to you working for DC.
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John Ridley Reveals The Other History of the DC Universe
https://www.dccomics.com/blog/2020/11/24/john-ridley-reveals-the-other-history-of-the-dc-universe
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Legion of Super-Heroes #8 page 11. My Interlac is a bit rusty, so I double-checked this page against a key, because I frankly couldn’t believe my eyes.
In panel 1 it literally says:
The Interlac narrative will be something like: Blok comes from Dryad where they believe justice is proportional. So to Blok, this attack on the Legion feels like a full-scale war.
Bendis isn’t even bothering to write full script now, he’s leaving his rough notes in, and the letterer has (fairly enough) decided it’s not his job to write the script so he’s just lettered it verbatim. And the editor clearly doesn’t give a fuck about the book he’s putting out.
I can’t even make a joke about this any more. I just want to cry.
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I wonder what this means for Once & Future though?
No details, but:
Thanks! I'm gonna keep working on Once and Future
— Dan Mora (@Danmora_c) December 7, 2020
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At a time when people are typically paying $3.99 for 20 pages in monthly floppies, that’s actually quite reasonable on a per-page basis.
I suspect it will meet the same reception as most anthology comics in the US market, but it feels like it’s worth a shot.
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$7.99 for 64 pages. Monthly.
While it is Batman, is still may be a steep ask for readers.
In terms of number of pages of new material, this is about the same as buying two 32-page books for $3.99 apiece. This is the format that Greg Rucka switched to last year for his LAZARUS RISEN series at Image. It comes out quarterly, with a 44-page main story, a backup prose story, and other stuff that makes the price worthwhile.
Of course as Dave pointed out, anthologies rarely do well in the US.
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Speaking for myself as an American, I am not going to buy an anthology that is 50+% mediocre or crap
To be honest this has frequently been part of the issue in US comics. A lot of anthology stuff in my period (I know things before my time like Action and Detective were originally anthologies) has been seen as somewhere to dump up and coming creators to try them out.
When DHP had Sin City and Marvel Comics Presents had Weapon X they really sold but a lot of the time their material was pretty average. I bought all the Weapon X issues though and even then the rest of the backups were pretty terrible. I called up the issues on Marvel Fandom and a lot of the writers I have never heard of since, some are by assistant editors who were never good writers.
Truth be told a lot of readers left 2000ad in the mid 90s because it lost its way and the material was poor. Rebellion rescued it from a slow death by buying it and putting better editors on picking better stories.
Quality is always important or you’re doomed to failure.
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DC gives The Joker an ongoing series
James Tynion IV is the series’ writer and he’ll be joined by artist Guillem March, and we now know this is the second Batman-family title Tynion (who will remain on Batman with Jorge Jiménez) he’s been teasing.
_________________________________________________________________________________Crime Syndicate: DC’s Evil Justice League Lands Its First Series
Writer Andy Schmidt and artist Kieran McKeown are launching a Crime Syndicate series that spins out of DC’s Dark Nights: Death Metal event.
The six-issue Crime Syndicate miniseries will spin out of the events of Dark Nights: Death Metal, with Earth-3 reborn in a brand-new Multiverse. The series stars a paranoid titan (Ultraman), a narcissist (Super Woman), a nihilist (Owlman), a broken moral compass (Power Ring/Emerald Knight), a sociopath (Johnny Quick) and a sadist (Atomica).
Crime Syndicate will also feature a backup story drawn by Bryan Hitch that chronicles the origin of Ultraman.
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new-superman-and-action-comics-creators-aiming-to-change-man-of-steel-and-dc-forever/
How nice, another pissing contest.
1 user thanked author for this post.
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new-superman-and-action-comics-creators-aiming-to-change-man-of-steel-and-dc-forever/
How nice, another pissing contest.
Just remember, “forever” in the comic book industry is actually a very short period of time.
1 user thanked author for this post.
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