Tagged: DC Comics

Martha Thomases: Comic Books For Everyone!

Silvestri Batman

There was a disturbance in the Force this weekend as DC announced that they were, once again, relaunching their entire line … sort of.

On the one hand, I’m sick of this. It might work as a publicity stunt for a few months, but, in and of itself it doesn’t necessarily attract new readers. On the other hand, what else can they do?

Just a few days before, my pal Val D’Orazio posted some interesting opinions about the comic book market. She looks at distribution and promotion and demographics and all the other elements that have been part of our discussions about comics since at least the 1970s.

In case you’re new to this, let me try to sum it up (which will, by necessity, over-simplify things). The emergence of the direct market allowed comics to go from a mass medium to a more sharply focused (and therefore, more profitable) business. There were risks (for example, speculation) but there were benefits (cheaper cost of entry allowed more experimentation). For a glorious few years, all kinds of books were offered from all kinds of new publishers, although Marvel and DC continued to dominate. The market grew to include graphic novels, thus entering the mass market again via bookstores. Recently, digital distribution makes it easier for new demographic segments to inexpensively sample titles without having to go to comic book specialty stores.

Or, to quote Val, “In particular, there is going to be a big market for diverse, relevant, young adult serialized content; that is where a lot of the best “new ideas” in comics will be coming from, the sorts of ideas that get optioned for movies and TV.”

Please note: When she says “young adult,” she is referring to that segment of the book publishing business that includes Harry Potter, The Hunger Games, Divergent and the like. It’s a marketing term, not a judgment call. In other words, what is currently one of the most profitable areas.

How does the current publishing model fit with future? Not very well.

I love going to the comic book store on Wednesday. Really. Even in the snow. I like to pick up a pile of overpriced (in terms of cost per minute of entertainment) paper pamphlets and read them over lunch, or over an afternoon. However, I’m someone who has been doing this for nearly 60 years. I’m certainly not the cool, young market that advertisers and publishers want.

And even though I’ve been reading comics for such a long time, I have trouble keeping continuity together. If I was a young person today, I would find the whole thing to convoluted to bother.

DC seems to think the solution is to start from scratch so everyone has a chance to get in on the ground floor. I get it. The New 52 worked pretty well for them, at least commercially.

Unfortunately, they seem to miss what I consider to be the point: they bog down their new continuity with old continuity. And they seem to think that on talent that might be well known within the comics industry will be a selling point to new readers from outside the market.

I like Scott Snyder’s writing very much, and those Marc Silvestri pages are gorgeous. I don’t mean to say those men are not talented, but that they are not known to people who don’t already read comics.

At the same time, a lot of current readers are turned off to buying current comics book series because they don’t like stories that are “written for the trade,” that is, stories that are planned for collections, not for individual issues. This is understandable. If one spends three or four dollars (or more) on a comic book, one would like to get a story.

And a lot of people who like comic book characters (like the Flash, or Agent Carter, or Lucifer, or Batman or the Avengers or Your Favorite Here) are intimidated by comic book stores. All they know is what they see on The Simpsons or The Big Bang Theory. They might enjoy comics, but they need a safe way to sample them.

Even though I’m not a huge fan of reading comics online (I think I’ll like it better if I get the bigger iPad), I think the Interwebs offer a solution. A lot of the expense of publishing comics comes from buying paper, printing, and shipping. By promoting and publishing all kinds of comics online, publishers can attract new readers more inexpensively than with paper, and save hard-copy publishing for the more popular titles.

For example, I’m an old fart who would very much enjoy reading the occasional adventures of the Legion of Super-Pets and their romps through space. I would also like more “realistic” stories, like the procedurals in Gotham Central and Resident Alien. I’d gladly pay a few bucks for the chance, especially if, as Val suggests, there is some kind of Netflix like structure that lets me binge at will.

I haven’t figured out the economics yet, but everyone involved should get paid at least a living wage – not just the creative talent but editors, lawyers, and so on.

If you want to see comics that feature people of color, or queer people, or more women, there can be comics for you. If you want to see the (mostly) all-white comics of the past, there can be comics for you.

Just as having more channels on television has brought more good shows, having more channels for comics should bring more good comics.

Michael Davis: New Rules For Comics

I love comics.

God help me I love the comics industry even more. My reason for this foolishness? The comics industry is full of really wonderful, wonderful (YEP TWICE) people. On the flipside, if you’ve met me you’re aware more than a few assholes stalk the floor at Comic Con.

I know it’s hard to believe but there are people in the industry who think I’m an asshole. I’m not the kind of person to label others because they label me. I’m above all that high school crap. I refuse to create falsehoods in response to falsehoods created about me. I deal in facts, people, and it’s a fact the people who think I’m an asshole fall into one of three categories: (more…)

Mindy Newell: Two Doctors Walked Into A Bar….

Porky In WackylandClara Oswald (Jenny Coleman): “We’re not a team.” Missy (Michelle Gomez): “Of course we are! Every miner needs a canary.” • The Witch’s Familiar, Doctor]. Who, Episode 2, Season 9 • Written by Steven Moffat • Directed by Hettie Macdonald

It was the Missy and Clara show on Saturday night on BBCAmerica.

Yep, the second episode of Season 9 of Doctor Who – The Witch’s Familiar – was a classic “buddy” movie writ large within the parameters of the Whovian universe, a twist on Thelma and Louise with Michelle Gomez and Jenna Oswald brilliantly playing off of each other like a well-oiled comic team of old (Abbot and Costello, Martin and Lewis, George and Gracie) – with a dollop of sociopathic menace and Dalekian evil plans thrown in for good measure.

And how disturbing was it when Clara was inside the Dalek? Talk about a callback! I was waiting for her to say, “Run, you clever boy. And remember me.” Which makes me ask: Does Clara have any memory at all of her previous lives?

Yes, a crackin’ good episode, I would even say fantastic, except for one thing:

No more sonic screwdriver?

NoNoNoNoNoNoNoNoNo!!

Yes, Peter Capaldi looks absolutely kewwwwwl in those “Googlized” Ray-Bans, not to mention devastatingly handsome, but the sonic screwdriver is as iconic in the Doctor Who universe as is the TARDIS. But I shouldn’t be worrying, right? Probably the Doctor reclaimed his screwdriver after he “Exterminate[d]!” the Handmines and took li’l Davros home.

Yeah, those Handmines. Another brilliantly creepy concept there; and another callback to the scarily intimate power of touch in Doctor Who – the Weeping Angel taking hold of River Song’s hand in The Angels Take Manhattan, and Clara herself being the “thing” under the bed who grabs the ankles of the crying boy who will grow up to become the “bloke with a box.”

“Ben Carson Says He’d Consider Religion As Probable Cause For Searches on ABC News This Week with George Stephanopoulos • 12:01 P.M. September 27, 2015 • Samantha Page • ThinkProgress.com

I read Martha’s column (New and Diverse) and clicked on the link about DC Comics. It’s really, really sad that “affirmative action” or “positive discrimination” or whatever the hell you want to call it is still needed. I have just a few questions:

Not withstanding would-be professionals showing their wares at conventions to the editors of DC, how will an editor know what the pigmentation of the skin is of the person who sent in that utterly terrific story submission with examples of dialogue or art boards of totally beautiful sequential art? Are they just going to come out and ask, “What color are you?” before they offer any work, or at the least, an appointment to meet?

And isn’t that illegal?

Not to mention kinda insulting?

It reminds me of when you go to interview for a job, and you have to fill out one of those “non-discrimination” or “census” or whatever the hell they’re for – the U.S. Department of Labor? – papers where you’re asked to check off your gender and race – and Jesus Christ, people! When the hell are we going to stop using that word? We are all one race! If we weren’t, we wouldn’t be able to make babies with each other! A simple biological fact! If the Department of Labor, or the U.S. Census Bureau has to classify people, why can’t they use ethnicity instead of that word?!

Anyway, every time I fill out one of those things I think of quotas. Like the ones colleges and universities used to have for Jews. My uncle was not able to get into medical school because of his religion, until the University of Arkansas made him a deal – if he could get to the University by a certain date, because they suddenly had an “opening,” they would have a seat for him in the medical school. The date was only 24 hours away, and they obviously thought they were getting away with something, because how could a boy in the middle of the Depression make it from Bayonne, NJ to Fayetteville, Arkansas in one day? But my Uncle Ruby packed up and “rode the rails” with the hobos down to the South overnight – the admission board sure musta split a gut when he showed up on their doorstep, and, yes, they kept their promise.

Yeah, so whenever I fill out that paper I feel a bit suspicious – “What do they want to know for? Because I’m white and a woman and 60-going-on-61 am I going to be disqualified on the account of skin color, gender or age. Yes, all of you young’uns, ageism is out there, and it’s waiting for you. It’s the one discrimination nobody can avoid – if you live long enough.

Seems like the only thing they don’t ask is your religion.

But the way things are going in this country, I wouldn’t be surprised if that shows up, too. The way some of these Repugnantcan Presidential candidates talk, their wet dream is that the UnitedSA will soon be the ChristianSA. To paraphrase Dr. Ben Carson (but not by much): “A Muslim will only be President when you take this gun from my cold, dead hands.”

Ahh, what am I worrying about?

Like Sinclair Lewis wrote, “It Can’t Happen Here.”

 

 

REVIEW: Justice League: Gods and Monsters

Justice League Gods and MonstersWarner Home Entertainment has seemingly acknowledged that mostly in-the-know fans watch their direct-to-video offerings because if you’re not a fan, the current release, Justice League: Gods and Monsters, won’t make as much sense as he previous videos. Essentially, this 77-minute animated film is an Imaginary Story but it has the benefit of being the product of Bruce Timm’s brilliant imagination.

Timm has absented himself from the DC Universe for a while, recharging his batteries, and he’s back in an energetic and refreshing take on the concept of heroism. The film is chock-full of cameos and references to people scattered throughout the company’s 80 year history with many a creator deservedly getting their names in the end credits.  Timm has reteamed with producer Alan Burnett and the two share story credit with Burnett writing the final script.

JLGAM-Wonder WomanImagine if you will: General Zod sending his son (voiced by Benjamin Bratt) to Earth moments before Krypton exploded. In Gotham City, Kirk Langstrom’s (Michael C. Hall) experiments with bats has turned him into a power man-bat closer to a vampire than a hero. On Apokolips, Bekka (Tamara Taylor), Highfather’s granddaughter leaves her war-torn world to come to Earth. From their tower in Metropolis they have formed the Justice League where they serve and protect but on their terms.

While arrogant and far more violent than their traditional counterparts, they are not idiots so when scientists are killed in a series of accidents, they investigate. When giant robots, mimicking their abilities, are seen committing the crimes, the press blame the JLA and the hunt for the heroes begins in fervid earnest, led by Steve Trevor (Tahmoh Penikett) under orders from President Amanda Waller (Penny Johnson Jerald). And here’s where the story really impresses me, the motivations behind the villain. I won’t spoil it for you, but the story has heart where so many other offerings in the series have been cold, action-packed adventures.

JLGAM-BatmanThis is a world with limited heroes and villains but many who have the potential are the scientists involved including Ray Palmer (Dee Bradley Baker), Ryan Choi (Stephen Shin), Emil Hamilton (Trevor Devall), Pat Dugan (Dan Gilvezan), Dr. Sivana (Daniel Hagen), Michael Holt (Arif S. Kinchen), Victor Fries (Jim Meskimen), Silas Stone (Carl Lumbly), and John Henry Irons (Khary Payton). Then there’s Dr. Will Magnus (C. Thomas Howell), served by his diminutive robot Tin, who seems a mentor to these brilliant minds.

Where’s Lex Luthor you wonder? He’s above it all. Literally. From his orbiting space station, he has been suffering with Lou Gehrig’s disease and is confined to a wheelchair, making him a cross between Stephen Hawking and Metron. It’s a really interesting interpretation of the man and his exchanges with Superman are refreshingly non-monomaniacal.

As Batman leads the investigation, we are treated to well-spaced out flashbacks to the trio’s origins which provides us with other glimpses of this almost familiar universe and timeline. Supporting players from Lois Lane (Paget Brewster) to Jean Loring Palmer (Andrea Romano) make appearances enriching the story.

JLGAM-SupermanThe villain’s reveal and explanations bring the tight pacing to a grinding halt but then we burst into the final act and Sam Liu’s direction may be the culprit. Some things are prolonged, some reveals aren’t as surprising as you are led to be believed, but overall, once the credits roll, you’re left feeling fairly well satisfied. (And if you want more, DC Comics has offered up a ton of tie-in comics.)

This comes in a package containing the Blu-ray, DVD, and digital copy along with a Bekka action figure. As one has come to expect, the 1080p/AVC MPEG-4 video pairs nicely with the DTS-HD Master Audio 5.1 surround track so it looks and sounds just fine.

The extras this time around are a mixed bag. We start with Alternate Realities: Infinite Possibilities (19:00) led by DC Entertainment Creative Director of Animation Mike Carlin, DC Entertainment Co-Publisher Dan DiDio, Timm, Burnett, writer Heath Corson and DC Entertainment CCO Geoff Johns go on at length about the joy of reading and then producing Imaginary Stories. The history could have been better explained but all the expected favorites get touched out without properly acknowledging the modern day version, Elseworlds, started with Gotham by Gaslight.

We have an extended look at the show’s production with Calculated Risk: The Making of Gods and Monsters (24:00), which acknowledges the risk of too much Inside Baseball seeping into the finished product.

Lifted from an earlier disc, you get some additional background on Bekka and her world via The New Gods (22:00) where Carlin, Paul Levitz, Walter Simonson and ComicMix contributor Alan Kistler review the brilliance of Jack Kirby’s Fourth World and its enduring impact on DC Comics.

As usual, the Blu-ray concludes with a preview of the next offering, Batman: Bad Blood (12:00) which will bring Batwoman to the animated universe.

Rounding out the bonus material are “Phantoms” from Legion of Super-Heroes and “Brave New Metropolis” from Superman: The Animated Series.

Dennis O’Neil: Marvel, DC, and Higgs

superman_vs_spider_manOkay now, try to stay with me because we’re going pretty deep…

Those of you who were among the Faithful last week remember that we touched, very, very lightly, on a feature that the great comic book editor Julius Schwartz ran in a science fiction title published in the 50s. The comic book was titled Strange Adventures and Julie called the feature “Science Says You’re Wrong If You Believe That…” The format was: somewhere south of the ellipse was a brief, illustrated bit of information about some science-related topic. (Science Says You’re Wrong If You Believe That…I’m qualified to write about science?)

The point of the preceding paragraph was to establish bona fides. See, science belongs in this column because it’s been here before. Isn’t that logical? And easy?

Now we come to the crux of our elucidation: Have you noticed, any of you at all, that despite the elapse of more than a half century and a pretty steady exchange of creative personnel, and a colossal evolution of subject matter, narrative and visual techniques, printing technology, distribution means, business practices, societal respectability and maybe other stuff that I’m forgetting, that the Big Two comics publishers, Marvel and DC, have maintained distinct identities? There are Marvel comics and DC comics and, I might argue, if you caught me in a contentious mood, that True Fans can tell the difference even if there are no visual cues. (Such a cue might be the words Marvel Comics on the cover. Yeah, that might be all a real sharp tack might need.) Even if you don’t agree, pretend that you do while we forge ahead.

Said forging now suggests that I share with you a scrap of information from the essential Wikipedia,, available with a quick Google. “In theosophy and anthrosophy, the Akashic records…are a compendium of thoughts, events, and emotions believed by Theosophists to be encoded in a non-physical plane of existence known as the astral plane…

Okay, one more bit of info and then the payoff.

The bit: Physicists have confirmed the existence of what they call “the Higgs field,” which is an energy field that is everywhere in the universe. (It’s what gives particles mass, but never mind that.)

Now, as promised, the payoff, in the form of some questions: What if the Akashic records and the Higgs field are identical? And what if things like the establishment of editorial identities make an impression on the records/field that persisted forever? So wouldn’t whatever invokes those identities automatically take on the characteristics of the original, even if said characteristics are completely indetectable? Which certainly explains why Marvel Comics and DC Comics are still distinct from one another, doesn’t it?

Well, I’m glad we got that settled. Science might not agree – might say we’re wrong – but science says you’re wrong if you believe that we’ve got to believe science when we don’t agree with it. Or not.

 

Singapore Arts Council pulls $8,000 grant for Sonny Liew graphic novel

Sonny Liew, artist on the upcoming Dr. Fate series written by Paul Levitz for DC Comics, has published a graphic novel overseas that’s gotten a bit of political attention in his home country of Singapore…

A hot-off-the-press graphic novel seems to be in hot water, with the National Arts Council (NAC) revoking its $8,000 publication grant because of the “sensitive content”.

The Art Of Charlie Chan Hock Chye by award-winning comics artist Sonny Liew tells the story of a Singaporean artist who represents 60-odd years of local history through his satirical comics.

Founding prime minister Lee Kuan Yew and his political rival Lim Chin Siong appear in the 340-page book in cartoon form.

The 1987 Operation Spectrum, when 16 people were detained allegedly over a Marxist conspiracy to overthrow the Government, is turned into a plot to replace all music in Singapore with the melodies of American singer Richard Marx.

Published here this month by Epigram Books, the comic scored a publishing deal with American publisher Pantheon for an international edition next year.

It was awarded a grant of $8,000 from NAC before publication, of which $6,400 was disbursed, according to Epigram Books’ publisher Edmund Wee. He will return the $6,400 and is printing stickers to cover up the arts council logo in the printed books.

via National Arts Council withdraws $8,000 grant for newly published graphic novel by Sonny Liew – Books News & Top Stories – The Straits Times.

Sonny Liew is also known for his work on [[[My Faith in Frankie]]] together with Mike Carey and Marc Hempel, and Marvel Comics’ [[[Sense and Sensibility]]] adaptation.

Upcoming Lucifer TV Series Coming Under Fire

lucifer_morningstar_p

It’s been a couple weeks since we got the news of this coming fall’s network TV lineups. Many have noted it’s a golden age for comic-sourced television. One of the fall’s new shows on FOX will be Lucifer, based on the series of the same name featuring characters created by Neil Gaiman, Sam Keith & Mike Dringenberg for DC Comics.

Not so surprisingly, a show about The First of The Fallen getting bored with his tenure ruling Hell so he moves to L.A. to be a nightclub impresario has some folks upset, namely the American Family Association and its offshoot OneMillionMoms.com. AFA & OMM have started online petitions to “urge Fox [to] drop plans to air Lucifer” citing “The program previews mischaracterize Satan, departs from true biblical teachings about him, and inaccurately portrays the beliefs of the Christian faith. By choosing to air this show, FOX is disrespecting Christianity and mocking the Bible.” OMM also points out that “Previews of the pilot episode depict graphic acts of violence, a nightclub featuring scantily-clad women and a demon,” as objectionable content.

Here’s the first look trailer for Lucifer starring Tom Ellis:

OneMillionMoms.com state that “Our goal is to stop the exploitation of our children, especially by the entertainment media,” which begs the questions: Why haven’t they gone after the source material? Why are there no online petitions against any comics or comic book publishers on either the OMM or AFA sites? Doesn’t Fredric Wertham’s theories of youth corruption dovetail nicely with their “values”? Are comics not an entertainment medium?

At the time of this writing 9,175 “Moms” had e-signed (that’s almost 1% of one million) and 53,386 e-signatures have been collected on the AFA petition. It’s unclear if AFA’s numbers include the Moms or not. Oh, and the trailer has 565,783 views on YouTube.

It’s probable that if their petition fails to get FOX to cancel the show prior to its 2016 airdate, they will turn to the tactics they are currently using against TV Land’s Younger and urge sponsors to pull their spots.

The DC Comics vs. David Letterman Top Ten List

Everyone is talking about whatever contact they may have had with David Letterman this week, and I’m no different.

I’ve mentioned before that I believe some of the reasons I ended up working at DC Comics almost 27 years ago was because I could pitch softball better than what most people there and that the guy I was interviewing with was the head of the company softball team, and that I went to the game that was scheduled to be against the crew from Late Night With David Letterman.

What I’ve never mentioned before now is that somebody in the DC production department had devised their own strategy to psych out the other team, and had written the entire thing out on big pieces of cardboard, like cue cards.

When the game was forfeited, the giant cards were left behind on the field— and I, being a true comic collector of one of a kind stuff, grabbed them. And kept them. Through five or more moves, I kept them.

And now, on the occasion of the end of David Letterman’s run in late night television, I bring you this never before seen list…

TOP 10 REASONS DC WILL BEAT “LATE NIGHT”! (more…)

The Point Radio: Farewell To LOST GIRL

It’s the fifth and final season for the SyFy supernatural show, LOST GIRL. Series star Anna Silk talks about her favorite moments (and the things she grabbed from the set on the last day) plus BITTEN’s Laura Vandervoort talks more about her show’s new season and what it was like to be TV’s first Supergirl.

We are back in just a few days and so is the hit Game Show Network series, THE IDIOTEST. We take the test – here – no holds barred!   Be sure to follow us on Twitter @ThePointRadio.

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