Earth-2 Concept Fail

*Quote source: http://dcu.blog.dccomics.com/2012/02/27/earth-2-character-designs-batman/

Don't Bother With the New JUSTICE LEAGUE. COMICS REVIEWS FOR THIS WEEK.

JUSTICE LEAGUE #1
Writer: Geoff Johns
Artists: Jim Lee (pencils) & Scott Williams (inks)
Publisher: DC Comics

***CAUTION: SPOILERS ABOUND***

“Hold on a second...you're not just some guy in a bat costume are you? Are you freaking kidding me?!” – Green Lantern to Batman.

Well, as expected, I am clearly not the audience that this comic book is intended for. I really tried to just enjoy it on it's own merits, but it's such a lousy piece of work, I find it impossible to generate any sense of enthusiasm for it or for anything else on the horizon of the DC overhaul. I hesitate to call it a “reboot” or a “relaunch” anymore since nobody on staff there seems to be able to consistently define what exactly they are doing other than marketing it in contradictory ways.

This is the first issue of the JUSTICE LEAGUE. It is also the first issue of the “New” DC. DC 3.0 if you will. (DC 1.0 being everything up to CRISIS and DC 2.0 being everything post-CRISIS up to post-FLASHPOINT.) It is also one of the most stilted, disjointed inconsistent messes I've read from DC this side of FINAL CRISIS. The story, as it is, starts in Gotham City with Batman chasing after a monster (who looks somewhat like Sleez from John Byrne's ACTION COMICS days) who turns out to be some sort of minion of Darkseid and blows himself up for no real obvious reason. Well, I take that back. The reason is he is the plot complication that draws Green Lantern to Gotham so he can meet Batman. See, GL is the protector of this space sector and got tipped that an “extraterrestrial” threat had appeared in Gotham. So, he flew straight away to check it out.

Yeehaw! Green Lantern? Meet Batman. Batman? Meet Green Lantern. Much awkward exposition and insipid back-and-forths between the two of them. Apparently, in DC 3.0, GL is (or was 5 years ago, when this was set) is a moron and talks way too much. I had high hopes that in DC 3.0, maybe Batman wouldn't be an asshole. I was wrong. Batman 3.0 is a vigilante who works outside the law and there's a monster running across the rooftops, so understandably the Gotham City Police Department is chasing after both of them. Which is their job!! But that doesn't dissuade asshole-Batman from calling them “idiots”....for FRIGGIN' DOING THEIR JOB!!!!

Yes. Moron Green Lantern just said "It
combusted into fire." Next he's going to
tell us that an ice cube "Melted into
water" or that the water "Evaporated
into gas" or "Froze into ice."

The two of them, Batman and GL, make the brilliant deduction that since the suicide bomber was an extraterrestrial, then they should team up, hold on to the Mother Box left behind, and head to Metropolis to talk to that “Superman” guy that “they say” is an.......”alien.” Which also makes me wonder, looking at these pages again, just exactly how Batman realizes that the Mother Box is not a “bomb” but more like an alien computer. How much experience does this Batman have with alien technology? They just watched “Sleez” blow himself up, why wouldn't they be more cautious with that thing?

Interlude with Vic Stone. These pages of the football game and the spectators in the stands are the stiffest and most lackluster pages in the book. This is when this title could have really benefited from someone who has a stronger ability to move back and forth between action and personal/emotional moments.

The "Victor Stone" I recognize.

On into Metropolis where moron GL instantaneously gets his ass kicked by a red and blue blur. Last panel is our first “exciting” view of Superman 3.0.

This comic has a lot riding on it. Essentially, it sets the tone and spirit of the v-notched-high-collared DC 3.0. The world I found myself in was younger for sure, but it wasn't much different in tone or spirit than DC up till now. I found myself surprised that this was written by Geoff Johns. It didn't feel like Johns to me. The dialogue was terrible and the manner in which it unfolded just did not flow naturally or organically to me. It felt like it was cribbed off a flow chart of plot and character bits. I got no sense of passion or thrill. The interaction between GL and Batman was terrible. GL delivers exposition out the wah-zoo and comes off stupider than Ryan Reynolds' version of Hal Jordan. Batman just groused his way through the scenery with his grouchy, stubbly chin. This sense of each of these characters (GL, Bats, Supes) approaching each other like they're comparing genital-sizes rang false and immature. These are our heroes now. Are they supposed to be 14 years old? They seem to talk at each other like they are. The retelling of Vic Stone's pre-Cyborg life was dull and uninteresting. Whereas, in the original NEW TEEN TITANS series, the character of Vic Stone and his family dynamic was one of those elements that endeared him to me. In this comic, I didn't recognize him as the Victor Stone I once knew. It was just a generic “troubled” character.

I think Geoff Johns was attempting to swipe from SEVEN SAMURAI/MAGNIFICENT SEVEN to create a classic story of how 7 disparate characters could all get drawn together against a common enemy. However, with the use of Darkseid as an other-worldly “god” who winds up drawing our characters together, he actually absent-mindlessly just cribbed from Marvel's AVENGERS for the JUSTICE LEAGUE version 3.0 with Darkseid filling in for the Loki role.

I was really hoping for something more substantial and truly new in approach. This was, unfortunately, just the TACO BELL JUSTICE LEAGUE, where they look at the ingredients they already have on hand, mix them up and rearrange them, and claim an “all-new” menu. But it's really just the same old tacos and burritos.

Artistically, I found the comic to be mostly sketchwork-level with massively overdone coloring work. Much of the action was hard to follow. The flow of the work from panel to panel was inconsistent and was at times distracting. The details on Batman's annoying armored costume come and go from panel to panel. GL has irrelevant seams and/or armor on his chest and arms that makes no sense with the rest of the costume where the boots and gloves look like cloth. Either go organic like the recent film, or cloth like in 1.0 and 2.0, or go construct-armor style. The inconsistent blend of the two is distracting. Superman looks like Ultra-Man now.

I've seen some of Jim Lee's pencils, which were stronger than the stiffness and sketchiness here, so I may have to lay blame on Scott Williams' inking for some of my disappointment. The color work made some panels not only difficult to distinguish what was happening, but just plain hurt my eyes. I'm not sure why some modern colorists don't realize that just because you CAN do photoshop effects doesn't mean you HAVE to do them. In fact, that last page reveal of Superman is an example of terrible texturing and effects unnecessarily intruding on what should be the most exciting panel in the book.

I was honestly planning on getting the trade for this book because I usually like Geoff Johns's writing and Jim Lee's art. But now, I think I'll just move on to something else.

Reading this comic reminded me of a line from The Who when they sang “Meet the new boss/Same as the old boss.” And remember the title of the song? I hereby nominate “We Won't Get Fooled Again” as the theme song for the DC Comics fans.

FLASH GORDON: INVASION OF THE RED SWORD PART 4: POWER

Writer: Brendan Deneen

Artist: Eduardo Garcia

Publisher: Ardden Entertainment

“FLASH GORDON?!” – King Crax of the Fire People

“Uh..yep, that's me. Unless you want to kill Flash Gordon. In which case, I hate that guy too.” – Flash Gordon

In a week in which one major publisher hits blitzes the comic shops with their insanely over-hyped relaunch, there's a slight...ever so miniscule....chance that some lesser hyped comics might get overlooked. In this case, one that might get overlooked might be Ardden Entertainments current FLASH GORDON series. So, let me take a moment to remind you that this comic is also available today at your local comics retailer.

I hear a lot of grousing (and sometimes do the grousing myself) about the absence of fun and adventure in modern comics. I keep looking forward to this series every month precisely because it fills that void. It is possible to tell a serialized adventure series in comics without on panel rapes, graphic beheadings and amputations. It is possible to entertain the hell out of your reader without rotting corpses and psychopathic over-the-top villains. It is possible to tell a long-form story in serialized form that is complete on its own yet continues the larger story and it is possible to do proper character development without crossovers and tie-ins. FLASH GORDON demonstrates this every month, consistently.

As it should, this comic moves from cliffhanger to cliffhanger each month and is a thrilling ride every time. The invasion of the planet Mongo by the bloodthirsty humans of The Red Sword is in full force right now and our heroes (and villain) are separated and struggling to survive. As the anticipation builds in the story, so does the anticipation in the reader as to if and when our team will reunite and quell this invasion. More importantly, how can they rebuff the Red Sword without reestablishing Ming as the powerful Emperor of Mongo.

The difficult thing is to write about an issue like this without overly spoiling it, but at the end of the previous issue, Flash found himself abandoned by his “partner” Ming (no surprise there) to drown in a flooding cave. Since the comic is eponymously titled, it should come as no surprise that Flash figures a way out of his predicament, but then he finds himself once-again face-to-face with a fire-breathing dragon. This creatures seem to be rather common on Mongo.

Dale Ardden, Vultan, and his daughter Talon meet a race of men I, at least, am unfamiliar with – The Power Men of Mongo. Another fascinating extrapolation of beings in that The Power Men are cyborgs on the run from the brutal rule of Ming. Threads of story are picked up from the FG: MERCY WARS and Queen Fria of Frigia.

In other words, a whole lot happens in this one comic book. And this has been the pattern for the entire series. This is seriously one of the best paced books out there, as are all the Arrden and Atlas comics, in that it mirrors the active storytelling of the old movie serials but actually involves the reader in the lives and the personalities of the people of Earth who are stranded on Mongo, but especially those who are native to Mongo.

Ming is missing from this issue, but his presence is like an umbrella covering the entire proceeding. The series is called FLASH GORDON, but Ming is the character who keeps it focused at all times.

 

Every time I review this series, I always make a point of complimenting the art. The thing about the artist, Eduardo Garcia, is that he came on to this series following an artist who had already established the look and the style for it. That's a tough place to find yourself in as an artist. What I have noticed from issue to issue is that each successive issue begins to look less like Garcia is trying to match that earlier style and more organically Garcia himself. And that's a progression that I whole-heartedly approve of. I enjoy his work and he's a fantastic graphic storyteller. I also will take a moment to rave about the color work once again. It always strikes me how other-worldly Mongo seems. It really looks like the reader is viewing these scenes through the light of a sun and planet quite different from our own. And these color and lighting choices are deliberate and effective. If you're already reading this series then you know what I'm talking about. If you haven't picked it up yet, this is a good time to jump in because you can get all four issues and be up to speed before the next one comes out.

AND DON'T FORGET TO CHECK OUT THESE AND OTHER COMICS/GRAPHIC NOVEL REVIEWS AT AINTITCOOL.COM

They are a great bunch of guys who really tell it they way they feel it,

and that's hard to come by in the comics reviewing market.

DC Comics Bi-Coastal Press Release Interpreted

-----------------------------------------------

Today at The Source, a press release announced that DC Entertainment/Comics was becoming bi-coastal. Here is the announcement (in yellow) along with my no-b.s. interpretation (in red).

(September 21, 2010 – New York) DC Entertainment, as part of its ongoing strategy to integrate the DC Comics business, brand and characters into Warner Bros.

DC Entertainment's ongoing strategy to diminish the importance of the publishing arm.

Entertainment’s content and distribution operations, will relocate its business functions related to and supporting multi-media and digital content production to Burbank, California. DCE’s publishing operations will remain in New York, continuing DC Comics’ 75-plus year legacy of leadership in the comic book arena. These announcements were made today by Diane Nelson, President, DC Entertainment.

We are moving everything and everyone of real importance to Hollywood. But we will continue to let the publishing arm plug along as a cheap feeder league for our Hollywood offices. At least for awhile.

“These organizational changes reinforce the strengths of DC’s greatest legacies – most importantly its people and its creative talent – and offer greater opportunity for maximum growth, success and efficiency in the future,” said Nelson.

We're gonna be firing a lot of people.

“Our two offices will stretch and build their respective areas of focus, while prioritizing and aggressively striving to connect and cooperate more strongly than ever before between them and with their colleagues at Warner Bros.”

DC Entertainment's Hollywood offices will be dictating what DC Comics can and cannot do in New York.

“This strategic business realignment allows us to fully integrate and expand the DC brand in feature films as well as across multiple distribution platforms of Warner Bros. and Time Warner,” said Jeff Robinov, President, Warner Bros. Pictures Group, to whom Nelson reports. “We are creating a seamless, cohesive unit that will bring even more great characters and content to consumers everywhere.”

We can make such an enormous buttload of money off our licensing, web, film, and television we plan to focus primarily on these areas rather than the comics.

The relocation process is scheduled to be completed by the end of 2011, with DCE’s businesses related to the development and production of feature films, television, digital media, video games and consumer products as well as the company’s administrative functions relocating to a Warner Bros.-managed property in Burbank, CA. DC Comics’ publishing operations, which have been the bedrock since the company’s inception with an annual output of over 1,100 comic books, 300 graphic novels and MAD magazine, will remain in New York. The bi-coastal business units will work more closely together to continue elevating the powerful DCE brand.

Once we get everyone settled comfortably in Hollywood, we will reevaluate whether the New York offices are even necessary anymore. This should happen sometime early in 2012.

DC Entertainment was founded in September 2009 to fully realize the power and value of the DC Comics brand and characters across all media and platforms. The senior management team responsible for shepherding DCE through this reorganization is comprised of Nelson, Geoff Johns, Chief Creative Officer; John Rood, Executive Vice President, Sales, Marketing and Business Development; and Jim Lee and Dan DiDio, Co-Publishers of DC Comics.

The DC Entertainment reorganization team are of prime importance to the brand except for one of the last two on the list who may want to be sure his resume is up to date.

=======================================

A little bit later in the day, a second press release came out that was ostensibly a "letter" from Dan Didio and Jim Lee as co-publishers of DC Comics to clear up the earlier announcement. The "co-publishers" designation makes me think about Michael and Jim in THE OFFICE and their ridiculous status as "Co-Managers" of Dunder-Mifflin.

The changes happening behind the scenes this week are part of a greater campaign to reshape DC Comics and build a company for the future. Our responsibility as Co-Publishers is to find a balance between short term opportunities and long term vision; between our strengths in traditional print formats and the infinite potential beyond print; between our characters’ rich legacies in the past and the bright promise for the future they hold.

Ummm. Uh... well...here's the deal. Longterm goal appears to be that DC Entertainment doesn't have much use for DC Comics anymore...

As we’ve said before, there’s much to celebrate about DC. The foundation for long-term success is already here.

You ever felt like someone was smacking you in the head repeatedly with a bat and telling you the whole time they love you?

The DC Universe features the modern adventures of the World’s Greatest Superheroes, as envisioned by an exciting mix of new and fan favorite comic book creators. Vertigo is committed to publishing cutting edge, creator owned comic books and graphic novels by a wide array of creative voices.

At least for now, we get to keep churning out super-heroes and stuff for the grown-ups with the Vertigo. Thank GOD we still have Vertigo for awhile longer. If it weren't for FABLES, though, that would'a probably gotten the axe too.

One of our first decisions of the Co-Publishers was to up the publication of MAD Magazine from a quarterly periodical to a bimonthly one. In the wake of that decision, the magazine has seen increased sell-through growth. And we’re thrilled that MAD’s brand of madcap humor now stretches across media, with a highly-rated television show on Cartoon Network. The Usual Gangs of Idiots are an important part of this company and pop culture.

CAN YOU BELIEVE THAT WE ACTUALLY MADE MONEY ON MAD MAGAZINE THIS YEAR?!?!?!?!?!? NOBODY'S MORE SURPRISED THAN US!!!!!!!!!!!

As we move forward, we also have to acknowledge the need for change.

WAAAAHHHHH!!!!! We don't wanna change!!! Stop the hurt!!!!

After taking the comics scene by storm nearly 20 years ago, the WildStorm Universe titles will end this December. In this soft marketplace, these characters need a break to regroup and redefine what made them once unique and cutting edge. While these will be the final issues published under the WildStorm imprint, it will not be the last we will see of many of these heroes. We, along with Geoff Johns, have a lot of exciting plans for these amazing characters, so stay tuned. Going forward, WildStorm’s licensed titles and kids comics will now be published under the DC banner.

Goodbye Wildstorm. Hell. Even WE didn't realize there were still comics published under the Wildstorm banner. Other than Ellis's run on THE AUTHORITY and PLANETARY, there's really not anything of note to be remembered here. Of course, now DC Entertainment gets to claim all the credit now.

After this week, we will cease to publish new material under the ZUDA banner. The material that was to have been published as part of ZUDA this year will now be published under the DC banner. The official closing of ZUDA ends one chapter of DC’s digital history, but we will continue to find new ways to innovate with digital, incorporating much of the experience and knowledge that ZUDA brought into DC.

Buh-bye all you web comic creators. We thought you were a waste of time and effort anyway. Don't let the keyboard smack you on the way out.

We’ll be further expanding our digital initiative and making a lot more news in this space. As part of that transformation, the WildStorm editorial team will undergo a restructuring and be folded into the overall DC Comics Digital team, based in Burbank, which will be led by Jim Lee and John Rood.

Hold it! This is Dan speaking. Jim's gonna be moving to Hollywood???? What does this do for our "Co-Publishers" status here in New York???? Jim! Jim!

With nearly two million free downloads and hundreds of thousands of paid downloads, our digital foray is already reaching a new audience worldwide. We could not be more excited by the successful launch of our Digital Publishing products in June, which exceeded all sales forecasts and will be building on our early success with new applications for DC material on all major formats and hardware, partnering with Warner Bros Digital Distribution. It has extremely been rewarding to hear anecdotal stories of lapsed readers returning to the art form and of brick and mortar stores gaining new customers who sampled digital comics.

Digital is what all the kewl kidz want now. So, that's what we're throwing all our time and money behind now. Paper comics are dinosaurs on their way to extinction.

We remain, as ever, dedicated to working with the greatest creators this industry has to offer, while inspiring generations of creators and readers to embrace this medium that we all love.

It's been fun and it's been real, but really, it's the age of Hollywood for DC and comics ain't gonna be along for that ride much longer. Get used to it.

Jim Lee and Dan DiDio
DC Comics Co-Publishers

Jim "Hollywood" Lee

Head, DC Comics Digital team

Dan "New York" DiDio

DC Comics Co?-Publisher