Over the past week, it’s been a fascinating time to be a DC comics fan. Every mainstream book they are publishing was cancelled, and they’ve announced fifty-two brand-spanking new #1 issues, intended as a massive jumping on point for new readers and fans. I was initially shocked by the announcement, which really is on scale with the rebranding of the entire DC Universe in the wake of the original Crisis on Infinite Earths. I love a lot of the current DCU, and am hesitant to lose it as part of some massive stunt. Still, the more I thought about it, the more I came to like it (with one or two reservations).
You gotta give DC credit. They said that Flashpoint would change everything. People scoffed and complained the big world-shattering events never change anything. Then Bleeding Cool went ahead and revealed a list of stuff that DC would actually be changing. People scoffed because DC were actually changing stuff. You almost get the sense that it’s a lose-lose scenario for any company. If you maintain the status quo, you are inevitably described as stuck in the mud and boring. If you dare to actually change things, you are invariably accused of changing too much.
Let’s Go Digital
The key announcement was the same day digital release for all of the new comic book titles. Forget continuity. Forget new series. Forget costume designs. Anybody pretending that this little snippet isn’t the biggest revelation of the bunch is kidding themselves. I wonder how local comic shops are reacting to the news. In fairness, I don’t see a huge collapse in demand, at least not anything greater than what already seems to be the spiralling sales figures. People who read comics now mostly do so out of nostalgia. That’s why it’s so hard for new characters to catch on. On the other hand, that also means that they will likely remain loyal to their local shops. And I suspect many will see paper as something of a classic and traditionalist medium.
This is bigger than the other announcements because it represents an attempt by DC to actually entice new readers to their comics. I don’t mean in the lame half-ass “point one” initiative sort of way. I mean in an honet-to-goodness “putting copies of books in the hands of consumers” sort of way. It makes it easier to get comics anywhere. It (hopefully) makes them cheaper, at least for back-issues at first – though I think the price will have to drop for new releases too. It’s eco-friendly. It uses media with which kids and teens are familiar. More than that, it’s an acknowledgement that reaching a new audience means something more fundamental than a reboot.
I think this is the last best hope the comic book market has, in an era of rapidly declining sales. If (and only if) this is accompanied with a genuine multimedia push (that means trailers in from of Green Lantern and The Dark Knight Rises, billboards and ads on sites other than comic book sites), it could bring comics to a new generation. I think the reason comics can’t find new readers is partially because of the insular nature of superhero continuity, but also because they are harder to get ahold of. I grew up in Ghana, and my parents could pick up a Batman comic at the grocery shop. Nowhere else in the world does that seem possible now – you have to seek them out. And only existing fans care enough to seek comics out.
Imagine a world where a kid scanning a poster gets a free download of the first issue of Watchmen to read in his own time, with an option to buy the rest for a relatively small fee. Or if you could scan the barcode at the end of the Green Lantern trailer to get a copy of the first issue of Secret Origin. That’s how you make comics accessible to a new generation. None of the marketing was revealed, but DC need to push the hell out of this, because this switch is make or break time. It’s a fantastic opportunity or a huge disappointment waiting to happen. Either way, it’s a bold move – and one I salute DC for. I just hope that they are aware that initiative won’t attract new readers on its own, it needs multimedia support.
The Continuity Conundrum
Still, it seems that the continuity changes are the ones that are generating the most on-line debate and discussion. I can understand that – in fact, I’m quite torn up about the decision to put Barbara Gordon back in Batgirl #1. There’s been considerable buzz about whether this is a “reboot” or a “relaunch” or “a bunch of retcons”, with Bob Wayne’s letter to retailers, Scott Snyder’s discussion on Batman #1 and the consistency of the Green Lantern line only serving to confuse matters.
Personally, I really don’t care, as long as these comics are accessible jumping on points, and don’t count on me being infinitely familiar with the decades of history for various minor characters. I honestly wouldn’t be too upset if, as the “younger” aspect of the reboot suggests, this effectively wipes the DCU. I’ve seen an alarming number of complaints on-line (and even from people like Tom Brevoort) that this will make it so that everything that has happened in the history of the DC Universe “won’t matter” come September.
I have never understood this aspect. Whether a story is in or out of continuity has no impact on the quality of story told. If I were asked to recommend three Superman stories for a new fan, I’d recommend All-Star Superman, Red Son and Whatever Happened to the Man of Tomorrow? over just about any in-continuity tale. Similarly, The Dark Knight Returns is a truly iconic Batman story, despite the fact that it isn’t officially part of the character’s history. this is part of the reaction to Flashpoint I never understood. If the setting provides the opportunity for a good story or two (and Batman: Knight of Vengeance and Frankenstein surely qualify), then why should it matter if it ever “really” happened?
Even if this reboot is a complete wipe, that doesn’t invalidate all the great stories that have been told. The Long Halloween would still be an essential Batman story, and Sinestro Corps War would still be perhaps the best Green Lantern saga ever told. So, this aspect doesn’t bother me, at least not of itself. I do worry about using the reboot to, for example, remove some of the diversity in DC’s line, for example, or if it serves as a platform for some stupid ideas. The important thing is that the stories told in these fifty-two #1′s are well-told and accessible. Anything else is window dressing.
Diversity #1 (in Characters)
Hm. I can’t help but feel that the books published could have featured characters just a little bit more diverse. While it’s great that we’re getting Mister Terrific #1 for the first time, and while Batwing #1 was the quirky choice of the Batman line, and while it’s nice to see Static Shock #1 playing such a key role in the line-up, it seems that “diverse” seems to mean “black” rather than a wider and fairer “not Caucasian.” Hell, even after the relaunch, the vast majority of the titles focus on white males.
I can’t help but feel that DC could have done more to offer a more reflective spectrum of central characters, and the reboot would have provided a great opportunity for that. Still, it’s a huge step forward from the current status quo (and, sadly, there’s little evidence that readers will support books with minority leads), but I still can’t help but get the sense that more could have been done. After all, if we’re really trying to reach a new audience, then surely we shouldn’t assume they’ll be quite a close-minded as modern comic book fans seem to be.
If It Ain’t Broke…
I’m glad that the Batman and Green Lantern titles are being left relatively untouched in the wake of Flashpoint. Snyder has explained that his Batman #1 will follow on from Detective Comics, while Grant Morrison will launch Batman Inc. #1 in 2012 and even Tony Daniel is staying on (moving from Batman to Detective Comics). Even J.H. Williams’ long-promised Batwoman #1 is part of the relaunch. Hell, inexplicably, David Finch’s The Dark Knight #1 is even included.
Similarly, the Green Lantern titles are still being headed by Geoff Johns and feature the talents of Tony Bedard and Peter J. Tomasi. Peter Milligan’s long-rumoured Red Lanterns #1 is even part of the relaunch, which is neat – and there’s every indication that the emotional spectrum will remain a key part of the mythology with New Guardians #1. And, to be frank, that’s good.
Green Lantern and Batman have been two of the highest quality (and best selling) lines that DC have been producing, so leaving them relatively alone (and even expanding them) makes sense in context. I would have been more worried had the company meddled with these winning combinations simply for the sake of meddling with everything. It’s a neat comparison between the New Teen Titans and Batman lines in the wake of the original Crisis on Infinite Earths.
Maybe Grant Morrison is right about Batman. The guy can endure and survive two major relaunches completely unscathed, so returning from the dead must have been a walk in the park.
Creators
Well, this is a bit of a mixed bag.
In fact, the most worrying part of the relaunch, to be honest is that fact that it isn’t necessarily a bold new wave of DC talent for a bold new wave of DC comics. J.T. Krul hasn’t done much to inspire trust, let alone to launch Captain Atom #1, a title which I should be unreservedly excited about. I also don’t really think he’s done enough to merit staying on Green Arrow #1. Similarly, Dan Didio’s O.M.A.C. #1 doesn’t fill me with confidence.
There’s also a really strange continuation of DC’s policy of making writers out of artists. I actually don’t mind Tony Daniel, but he’s hardly the best candidate to write Detective Comics #1 and it seems strange to see him writing Savage Hawkman #1, a book he isn’t even doing artwork on. At least Ethan Van Sciver is working with Gail Simone on Firestorm #1, so he’ll have some guidance. I was sad to hear Geoff Johns was departing The Flash, but I’m not exactly won over by the idea of Francis Manapul writing Flash #1. I guess DC is banking that, based on the law of averages, they’ll find another George Perez if they promote enough artists. Or maybe they’re just cheaper.
On the other hand, there is some top notch talent involved. Demon Knights #1 and Stormwatch #1 are instant buys if only for Paul Cornell. Scott Snyder was my dream choice for Swamp Thing #1. I’m glad to see Jeff Lemire working in the mainstream DC universe, and Frankenstein #1 and Animal Man #1 just make it all the more sweeter. And any Peter Milligan is immediately worth a look, so that’s my interest in Red Lanterns #1 and Justice League: Dark #1 confirmed. Not to mention the “must have” factor of a Grant Morrison Action Comics #1 and Geoff Johns Aquaman #1 and Justice League #1 will also be getting my money.
Add to that relatively new talent like Kyle Higgins on Deathstroke #1 and Nightwing #1 as well as some exciting titles on “the Dark” and “the Edge” lines, and it’s not quite as bad as it might seem. It’s just a shame that so many mainstream superhero titles seem to have gone to rather generic and occasionally boring choices. Can’t win ‘em all, but there are some pretty awesome choices in there.
Diversity #2 (in Choice of Books)
This is where the relaunch is a real winner. Sure, there are over 100,000,000 Bat titles (note: that might be an exaggeration), but there’s also a whole host of decidedly non-superhero titles. It seems like there’s something for everyone, with the incorporation of various fictional universes and all manner of classical, subversive and deconstructive comic books thrown in.
Again, “the Dark” and “the Edge” lines seem to be where it’s at with titles like Sgt. Rock #1, All-Star Western #1, I, Vampire #1 and Voodoo #1 among a tonne of others. There actually seems to be something for everybody included in that line-up, and much more than the standard stuff one might expect. Along with digital releases, this suggests that DC seems to be serious about widening the appeal of comic books, offering far more than guys in spandex knocking the stuffing out of one another.
While I was sad to see smaller titles like Red Robin and Justice Society of America lose out (and not get in on the fifty-two relaunched titles), I’m actually glad at some of the big superhero titles that we are going to see. Mister Terrific #1 is a book for a character who has never really had a shot at the big time, so I’m glad to see him included. Captain Atom #1 acknowledges DC’s crowning accomplishment, Watchmen. There’s all characters, big and small, included here, and it is a genuinely diverse line-up when you consider the sheer scale of DC’s fictional universe.
I think this may be the biggest factor I appreciate about this relaunch. It’s the fact that it takes character like Mister Terrific (who never had an on-going) or Jonah Hex (who has had an on-going but is seldom acknowledged) and puts them on a relatively even footing with characters like Wonder Woman or The Flash. Characters like Batman and Superman might always sell better, but that’s down to the readers. DC are actually giving their properties the best chance possible.
I imagine this is the reason I’ll be following so many of these titles, at least waiting for trade (unless I get an iPad). It feels huge in scope and touches every aspect of the huge and impressive DC universe. This is the part that has me genuinely excited and honest-to-goodness looking forward to this relaunch.
The Wherefore and the Why…
There’s been much speculation as to why this is happening. There was that distinctly unpleasant fan fantasy that this was being forced on an unwilling executive team by parent company Time Warner (which was latger roundly disproven, but will probably continue to spread), through to the far more plausible discussion about DC’s decreasing market share.
Personally, I imagine it was a move to try to save comic books as a medium. With the perpetually decreasing sales, the medium is in a bad state and something bold and dramatic is needed in order to save them. The publishers need to stop looking at existing customers and try to reach new ones. That’s why digital is such a big deal, and why there’s such stress on accessibility and the new #1‘s.
I also think that the idea of “synergy” across DC’s multi-media empire does play a large part. The idea that comic books should line up with the public’s notion of these superheroes. So, since the public is most familiar with Bruce Wayne as the one-and-only Batman, the biggest change to the Bat titles is that Bruce Wayne is (once again) the one-and-only Batman. Since Barbara Gordon is the most recognisable Batgirl, having starred with Adam West in Batman!, she is Batgirl again. Even Nightwing’s new outfit seems designed to call to mind Chris O’Donnell’s costume from the terrible Batman & Robin. Being hoenst, I wouldn’t be surprised to see Sinetro as a Green Lantern, given his role in the new Green Lantern film. There’s also the suggestion that all this is being pushed by the on-going Superman lawsuit, which would explain why Lois has yet to really show up, since she could no longer belong to DC in few months time.
It’s possible the synergy is flowing in two directions. If Time Warner treat the comics as source material for movies (an R & D division, fi you will), then it’s possible they want the characters in an adaptation-friendly status. This would explain the rumoured “pants” edict, as you’re unlikely to attract a big star to appear as a character in a glorified bikini, and I think family audiences at the multiplex might feel uncomfortable watching a female lead in underwear. Rumour is that, with the loss of Harry Potter this summer, Warners is pushing hard for the same sort of cinematic success that Marvel have had – and perhaps they see this as an opportunity for inspiration.
However, that road goes two ways. It’s entirely possible that the comic book creators want to make their product more accessible to long-term fans of other media. So, rather than wondering why Batgirl is blonde, fans of the classic Adam West series can jump right on into a comic that reflects the DC Universe that they are familiar with. Imagine showing somebody The Dark Knight and then handing them Grant Morrison’s Batman run – it isn’t exactly friendly to fans migrating from one medium to another.
In Conclusion
Yep, so I’m excited about this. It is a bold move, one that we rarely see from a major comic book company, and one I applaud, even if I do have the exceptional cause for concern. I will certainly be there in September.
I started getting serious about reading comic books a year ago, and the stuff I read are mostly downloads. Since I got into comics pretty late, I see the re-boot as a good thing because all of DC’s titles will go back to square one and I get to be part of the generation that gets to read these made-over titles first. I’m a little worried as to how some of the titles will be re-worked, though. I hear Winnick is working on Catwoman, and I can’t say I admire his old material.