Identity Crisis #1 is Out, Let The Second Wave of Press Begin!
Today’s the big day…er, the last day for someone in the DCU to live, that is. Identity Crisis #1 hits, the victim is revealed, and the first layer of the mystery is pulled back.
But – for those who’ve yet to pick up the first issue, don’t read any further Spoilers will undoubtedly be revealed in the thread below.
Really – don’t.
Read the article that promises spoilers but is oddly devoid of them at Newsarama
Murders rocks the DCU, ones that have lasting repercussions and affect almost every hero. Just who the murder victims are might not be as big a mystery as the reason why each was killed and who is responsible for the deaths. Writer Brad Meltzer is revealing many details to this puzzle, but he did give us some food for thought.
For some great (although redundant now that you have the issue) promo pages from Morales and the always intelligent candor of Meltzer, head on over to The Pulse
With IDENTITY CRISIS #1 (APR040316) scheduled to arrive in stores Wednesday, June 9, the mainstream press across the country is buzzing over the miniseries.
Read snippets of the mainstream press’s opinion on one of the largest storylines of the summer at Silver Bullet Comics
A plethora of Identity Crisis related articles. To read my take on the first issue of the summer mega-event, however, you’ll have to wait for the reviews section. And that, ladies and gentlemen, is what we call a teaser.
The Fastest Lawsuit Parte Dos
Carmine Infantino is seeking $4 million in damages from DC Comics, according to his complaint, a copy of which was obtained by The Pulse. As announced last week Infantino, a long time artist and former President at DC Comics, is seeking damages from DC on the basis of copyright infringement, claiming he created the Flash, among other characters.
Race on (yes…I hate me too) over to The Pulse for the details.
This article, while a more in-depth look at the lawsuit, has done little to alter or clear up my mind on the matter. The timing of the lawsuit is unfortunate (following the death of Schwartz, the last living non-Infantino individual supposedly involved in the creation of Flash), but apparently this dance has been going on for awhile. So, at least there’s that.
However, regardless of my opinion, I have to say that what set Infantino off, an interview with a DC executive during which “They never once mentioned me [Infantino]. I was really insulted,†is one of the silliest reasons ever to file a lawsuit. I understand it from a creator’s point of view, wanting acknowledgement for the work you’ve done. I get being upset that people have, seemingly, forgotten your involvement with something important. As a basis for a lawsuit though, being personally insulted seems low on the ol’ importance scale. I’m not saying that his lawsuit is not legally sound, I’m just saying that the impetus for it is a touch disappointing. But, hey, comic creators are human beings too. They certainly have the right to be offended. Still…it just sounds silly.
Bizarre Name, Big Honors
Kurt Busiek and George Perez’s epic crossover mini-series, JLA/AVENGERS
(Marvel & DC), dominated the 2003 Rec.Arts. Comics Squiddy Awards, winning
five awards, while Bill Willingham’s FABLES (DC/Vertigo) won in two
categories.
For the complete list of the winners, head on over to The Pulse
Okay, first off, go DC, nice job.
Secondly, Rich Johnston is not a “journalistâ€, he’s a gossip columnist. He’s damn good at it, too, but that doesn’t make him a journalist. He really only follows a story until it becomes none, journalists mine beyond that moment. Not saying he isn’t great, I still read him every Monday. I’m not saying not being a journalist makes him a bad man. I’m not a journalist in the capacity I serve here either, so believe me when I say there is no real shame in it. But being great, alas, does not make him a journalist.
But, honestly, that is hardly bothering me at all. Can we really get down to what is bothering me about these awards though?
Of course we can. This is my column and we’ll talk about whatever the damn hell (ooh, such profanity) I want.
Why did 411 only get one vote? We at least deserve to be tied with Comics Continuum in terms of web users respect. I mean, really now! Next year, if we aren’t tied with Comics Continuum (actually, scratch that, if we aren’t ahead of Comics Continuum) all of you are going to catch an earful. AN EARFUL I TELL YOU!
End transmission
Will Angel Fall By The Wayside
It’s an all-too common story: a well-reviewed series with a small group of core fans that’s struggling. Newsarama spoke with Peter David about Fallen Angel, and the creator was very candid both in what’s been going on, as well as his view of the ups and downs the series has seen in the marketplace.
Catch up on this “all-too common†story about a non too common comic at Newsarama
This article does a very nice job of summarizing where Fallen Angel has been and when it is going in the months to come. Although most of David’s work after Hulk has left me disinterested, this is one of those underdog books that I have to throw my support behind. For anyone who enjoys David’s work or is the slightest bit intrigued by this series, read the article. If your interest is raised one iota pick up a few issues. Something tells me this may never see the light of trade paperback if sales continue the way they are.
By the by, did anyone out there know that Fallen Angel was supposed to be part of some mini-imprint, along with Bad Girls and iCandy? I sure as heck didn’t. Maybe DC could’ve given us all a little bit of a heads-up on that?
Middleton Speaks Out
With the recent announcement of Joshua Middleton signing an exclusive contract with DC, a few questions cropped up regarding upcoming work, as well as the whys and hows of moving from Marvel to DC. Newsarama spoke with Middleton at this past weekend’s Heroes Con in Charlotte, and got a few teases.
To hear Middleton’s side of his work to date, welcome him to the DC fold over at Newsarama
It must suck to Josh Middleton sometimes. The man signs a brand new contract with DC and every talkback following an article about him is all about…Joe Quesada? It’s true. This poor guy, who everyone seems to love artistically, is on his way to a brand new company, a brand new start, and all anyone has to say is, “I guess it says that Joe Quesada is really strapped with work, I think he should become an artist again and let someone else do his boring desk job.†or “It sucks that Quesada’s lateness hurt NYX. Although a whole lot of Marvel books are constantly late. Or need I bring up Smith’s 2 titles?â€
How is that fair?
No Gray Zone: Mick is Pure DC
Inker Mick Gray, best known for his work on the America’s Best Comics series PROMETHEA, has signed a two-year exclusive agreement with DC Comics.
Watch DC continue to punish me on the exclusive contract issue at The Pulse
Seriously, DC, I am sorry about the crack I made after the latest convention. Can we stop with the exclusive contract for awhile? Thanks.
Oh, big ups to Gray. Love your inking.
Drawing Gotham’s Battle Lines
This summer the streets of Gotham may be covered with blood as the Batman event, War Games begins. Drawing several chapters of the saga in Detective Comics is artist Pete Woods. Woods said, “Jumping motorcycles, street fights, bazookas, and car bombs” would be just a few of the things he got to draw.
Woods engages in dangerous games at The Pulse. Buy a paintball gum and head on over.
I liked Woods’s work on Robin. I remember that, at the time, I was very displeased with the direction of the art so when he came on, it was a nice breath of fresh air. He was, by no means, astounding, but it was good, solid work. It made me happy and I enjoyed the stories more as a result. For that, I liked him. But, not really a big player in my mind.
However, after reading this interview, I have to say that I have a ton of respect for him. His influences, the quick and smart way he dissected how he would draw each title, it was all very impressive. It’s too bad that the Bat books are about to swept up in a bloated crossover event that I find myself being less and less excited about as time goes on (despite my love of Bat’s big bloated crossover events in the past). Still, at least the art on ‘Tec (does any one still use that abbreviation?) will be good.
Another Veteran Returns to Rejoin the JSA
This July sees the return of veteran comic creator Jerry Ordway to some characters very familiar to him in the first of his two part stint on JSA with issue #63. Ordway spoke with CBR News about returning to these, some of his favorite characters.
See Ordway’s art in all its splendor at Comic Book Resources
Ordway is and has been doing great work his entire career. The preview pages here from the JSA arc prove that that remains the case. And that’s why this interview is just so damn depressing.
“DC however, this time around is just my place of work. I will give 100% percent to my projects, but I no longer feel that pride of belonging as I used to.”
Doesn’t that quote just kill you?
I know the comic book industry has always had a tendency to abandon and/or destroy creators as they age in a rush to embrace the brand new thing in the market, but that does not make it suck any less. That’s why I can at least sympathize with Infantino. Of course, people point out that he was part of that machine with his treatment of King Kirby when Infantino was Publisher at DC, but…
In any case, to see that one as talented as Ordway who did as much for DC as it did no longer feels any sort of connection or sense of family is saddening. I grew up with the idea of the Marvel Bullpen, that kind of creative community in which all writers, artists, inkers, editors, etc lived. Sure, it was a fiction, even then, and I guess I knew it then too, but the idea still appealed to me. I liked the sense that there was a common thread linking all these people together, that they propped one another up. It is depressing to see, yet again, how much of a fiction that really is.
The Great Machine Meets the So-So Internet
To help make the world of Ex Machina even more of a community for comics fans, Tony Harris, Brian K. Vaughan, and Darren Murata have created a full blown website to go with the comic. Machinacomics.com will be updated when each issue comes out. It will feature all the art from pencils to colors for each issue the day that issue’s on stands. Unlike some of the other mini sites for comics series, this site will also feature a way for fans to interact with each other and the creators of the series. The site launches today and we’ve got details from Tony Harris on why he’s involved with Ex Machina and from Darren Murata on just how hard it was to create the website.
Watch Mitchell Hundred go digital at The Pulse
This Wednesday I get to get my hot little (alright, large) hands on this first issue and I am very much looking forward to it.
In the meantime, this is a pretty good site. As the first issue has not yet reached stands, it is still a bit thin content wise, but it is well setup and, if the categories are any indication, it will be often updated. Plus, the fan interactivity is pretty exciting. I hope that it is something Vaughan and Harris can maintain and that they won’t have to check out due to negativity at any point (a la Loeb over on the DC boards.)
By the way, this comes out Wednesday. If you didn’t know.
America’s Most Beloved Character, America’s Most Beloved Creator
When we last spoke with Chuck Austen almost a year ago, the writer thought it might be his last interview. However, we’re glad to report that Austen’s changed his mind. Since his work with Action Comics began, he’s been trying to promote the series through interviews and other means. We’ve got details on Gog, Lana, Lois, Superboy, the Titans, and all the other characters that are helping make Superman’s life interesting in Action.
Come on, you know you love him. We won’t tell that anyone that you went to The Pulse to read all about Austen. Honest…our secret.
Ah, how we love to hassle Austen. From what I understand, good ol’ Chuck has apparently been on his best behavior Superman-wise and most people are digging it. Which I think is great.
Sadly, I am still way hung up on this Gog thing. So, in an attempt to move, let me air my silly little complaints.
1.) Gog is not from Kingdom Come, he is from Kingdom. Magog is from Kingdom Come. I don’t even think Gog is referenced in Kingdom Come, only in Waid’s interviews about the series.
2.) Why use Gog if he is not, apparently, the same Gog as the one in Kingdom? Why not just make up a brand new character?
3.) Did the Gog story (in Kingdom I mean) really ever take place? Hypertime makes my head hurt.
Okay, I guess when I write my complaints down them seem pretty minor. I don’t get why DC has a mad-on to write about Gog in the first place and bring him into current continuity in the second. Kingdom Come was great, Kingdom was not. Can we not just leave well enough alone?
Austen Goes International
After a healthy run in American comics, Chuck Austen is spreading his wings to Europe (and the entire Milky Way galaxy).
The Action Comics, JLA, X-Men and WorldWatch writer’s previously announced Humanoids project, Flywires, is readying for its European debut.
If you like him in English, you’ll love him in French at Newsarama
I’ll say this for Austen, bad or good, the man gets tons of work. So much so that our measly country can no longer hold him. I hope France is ready for the Austen invasion.
What’s the Deal With Superman?
TBS, television’s “very funny” network, and American Express are teaming up for a unique marketing partnership that will bring a “webisode” from “The Adventures of Seinfeld and Superman” campaign to the network later this month. The campaign launched exclusively on the American Express web site in the spring. The webisodes reverberate TBS’s new “very funny” branding initiative, which debuted earlier this month. The branding campaign includes a new look, logo and tagline, highlighted by programming where comedy lovers can find hit series like “Sex and the City” and “Seinfeld,” as well as hilarious original reality series like “Outback Jack” and the upcoming “Gilligan’s Island.”
To check out the new Dynam…er…Hilarious Duo, check out Newsarama
I don’t normally comment on the press releases concerning DC’s other media endeavors, but I have to recommend these shorts to you. It is not the Superman that us comic fans know and love, but every short is hysterical in that dry, observant humor styling of Seinfeld. My favorite presentation of Superman these days, even if he bears no true resemblance to the source material. Granted, I would hate to see him presented in comics this way, but teaming up with Seinfeld on television the style goes down just fine. Nicely in fact.
DC Goes All Big Eye
Although not much is known about DC’s upcoming manga line, CMX. ICv2 is reporting some information about potential titles: Gals, Musashi # 9, and Madara, was learned at this past weekend’s Bookexpo America in Chicago.
Read all about DC embracing the art style hated by fanboys everywhere at The Pulse
I am pretty nonplussed about DC entering the manga game. As always more diversity in the comic market is a good thing and it seems that, at the least, Gals has a following. Good news there then. I have little motivation to seek out CMX myself, but I am glad to know that it is out there.
Fans: Pro or Anti-Change?
Welcome to SBC’s The Panel, a chance for you to put your burning questions – comics-related or otherwise – to a group of comics professionals.
The Panel lives or dies by your contributions; please email them to panel@silverbulletcomicbooks.com and we’ll add them to the list…
This week’s question comes from Sylvain Lebleu and is as follows:-
“Do fans really want change?â€
Watch creators talk about us like we aren’t even in the room at Silver Bullet Comics
I can hardly respond for all of fandom (especially since it would end up with some mamby pamby, “well, some do†type response), so I’ll just say whether or not I want change.
The answer is pretty easy for me. Yes, of course I want change. As long as I deem that change acceptable, darn it.
Put another, more seriously way, yes, I do want change. Without change, the characters cannot evolve and everything gets boring pretty damn quickly. However, the changes have to make sense and fit with who the character is.
To get to the heart of the manner, we have to acknowledge that in comicdom there are 2 types of change. There is temporary and actual change. Admittedly, there are also changes that are intended to be actual but are forced back to temporary because of fan outcry, new editorial, etc. But for our and simplicity’s sake, let us keep with the 2 types of change model.
The first we’ll deal with is temporary change. That is those changes that are conceived with the idea that they will exist only for a time. Big “event†moments tend to be this sort of change, like the breaking of Batman, the killing of Superman, or Spider-Man adopting a new costume. The events have ramifications that are felt for much longer, but the actual “event†itself is usually erased fairly rapidly, certainly (with rare exceptions) within a years time. Hush is the most recent example of this. Batman revealed his identity to Catwoman and the two began a full-blown relationship for the first time since the Silver Age, but by the end of the arc, all that was through.
There are also temporary changes that are not necessarily “events.†For an example of this, we look to The Flash and the Ignition storyline. Wally and his friends forgetting of his identity was obviously short term and DC did not build it up as earth shattering or world redefining.
Temporary changes, be they big or small, be they to generate short terms sales boosts or because of a legitimate creative arc, are okay with me. Even in the worst of circumstances, we know that the end is just over that next hill. Oftentimes, temporary change events can leave lasting impacts in ways you might not have initially expected. In any case, the only real issue with the temporary change is all involved must control the beast. It is interesting to get from point A to point B, but if you draw it out too long, temporary quickly begins to feel like forever, intentionally or not.
They can be used too often or be too drawn out. Spider-Man in the mid-90’s (pre Clone saga, which we’ll get to later) is a great example of this. From his parents returning to his grim and gritty phase, we knew that this was not going to be Spider forever. However, it was difficult to assure yourself of that, especially when he was appearing in 4 to 5 books a month (not counting guest shots). Some people have probably felt the same way about recent Batman crossovers like Fugitive/Murderer or No Man’s Land.
The other type of change is true or actual change. This is a far trickier animal to wrangle. Why? Basically, because what I meant by willing to see a character go through might not be what you are willing to. I might think that the Lex Luthor knowing Superman’s true identity could reinvigorate their relationship, while you might feel that no good can come of it. The beauty of true change done well is that you can disagree with the change but still appreciate it from a dramatic and storytelling standpoint. Batman’s journey from mourning father figure to vengeful and out of control vigilante to redemption and acceptance following the death of Jason Todd and culminating in Tim Drake’s appearance is a fine example of such an arc. In some ways, the status quo was returned, but the effects of the death and subsequent issues have held influence on the Batman character since. More importantly, Jason Todd’s death, the change that sparked it all, remained in place. Despite teases, Jason has never returned to life.
The King of Wrong Changes is Spider-Man’s clone saga. It was everything that change shouldn’t be. It was long, it was drawn out. It rambled alone without purpose at times. It teased, did not deliver, attempted to return to the same ground, failed to deliver again, and then, finally, when all of fandom was ready and gnashing there teeth against the changes to come, then and only then did they declare that the Spider-Man most of them had grown up reading was a clone. Why? Well, because Spider-Man should be young and hip, not married and thus, apparently, un-hip.
I won’t go into the Clone Saga further because this is a DC column, but it just stands as what makes for bad change. Changes that are largely motivated by market share, not by a natural progression of the character, do no one any good at all.
So, yes, I want change. But it is a change that has to make sense, that has to be logical. Deciding Batman is in fact an alien may seem cool, but is a disaster as a lasting change. Having Batman begin to reinvest in Bruce Wayne, perhaps become more active in his business pursuits, (for reasons of ridding Gotham of crime of course), well that could be a change that makes sense. And so on. I don’t want change for change’s sake. I don’t want change so DC makes more money. I want change so I can read intelligent, moving stories. I want change so the characters have life rather than an ever-repeating sequence of fight and flight. I want changes because I want growth.
OPINIONS ON THE WORK OF PEOPLE FAR MORE TALENTED THAN I
AQUAMAN #19
For the second time in as many months, I find myself reviewing an Aquaman comic. So weird.
Sadly, I find my interest in this title continues to wane. In this penultimate chapter there is little to dissuade the “finish out the first arc, then drop†approach that I have been considering since last issue. Largely of any action or revelations, this installment does little to add a human face to the villain (or a villain) of the piece. His pseudo scientific reasoning does not make him flawed or interesting and the shadowy conspiracy behind it shows signs of become the DC equivalent of the dark governmental agency in the first year of Bruce Jones’s Hulk run: bland and faceless. I have faith in Pfeiffer, but he needs to pull a rabbit out of his hat next issue to keep me around.
GREEN ARROW #39
Ahh, my monthly fix of Winick written demons. Issue #39 comes rolling into the station concluding the “City Walls†arc on a high note. The reason: Winick eschews the supernatural bend of the story to instead deliver some great characterization and a moment that is bound to change young Mia for the foreseeable future.
The issue, however, does not lack for action. Ollie tries a gamble to see how far the demons “as long as it is legal†approach can be pushed to infiltrate Albert Davis’s stronghold and somehow bring this mess to an end. The technique made me smile and I wish it could have been played out just a touch longer, but sadly, everyone’s overstretched nerves get the best of them and Ollie’s possible solution is quickly ditched for an all out battle. Ollie, Connor, and the army of cops and cons battle down below while Mia picks up as many demons as she can from her rocky post.
Eventually, Mia is forced from her position as sniper and ends up following GA’s alternate plan into Davis’s home. There the two find a surprise waiting for them. It is a surprise that is quickly eclipsed in jaw dropping factor by the issue’s conclusion. Make this one comic you don’t scan through before you read.
As I said above, the characterization that Winick has proven so good at on this book is given center stage and the issue is better for it. He manages to humanize Davis, despite what he has done to Star City, and his work on Ollie and Mia remains strong. Only Connor struck me as short sheeted this time around, but it is understandable. I guess I just miss the days when Connor didn’t have to battle for a big moment or smart bit of characterization. Oh well, tis the nature of being a supporter player I suppose.
I am sorry that this story did veer into demon territory after I got excited to see a cool Riddler story, especially in light of his Hush makeover. However, every issue has had something (or several things really) to recommend it, so I forgive the supernatural excursion. Here’s to an upcoming storyline that avoid any appearances by demons (fingers crossed).
For a summary of the arc and some hints on GA’s future, check out Newsarama
HERO #17
For some reason, Eaglesham’s work just did not click with me this issue. It is still good and I am glad to have him on the title, but this time around it seemed, I don’t know, a bit rushed I guess. His Reed in particular seems to suffer because of it.
Thankfully, that is pretty much the only complaint I came up against while reading this book.
The serial killer in possession of the HERO device is ahead of schedule, somehow, despite all of Reed’s knowledge and documentation of the future. Reed can’t seem to figure out why, but remains committed to the idea that he and Jerry are the only two who have a chance of stopping him. Jerry tries to persuade him that maybe Superman is an option (in a nice nod to the first story arc and Jerry’s own encounter with Supes), but Reed remains unmovable on the topic.
Meanwhile, it seems that the killer has become aware of them as well. He tries to pit one against the other and, failing that, decides to come after them himself by issue’s end.
Waiting another thirty days for this arc to be brought to a close strikes me as not fair. Not fair at all.
If you aren’t reading this, I highly recommend you scoop up at least the back issues of this arc in time to grab the conclusion next month. You will not be disappointed
NIGHTWING #94
If you have hated Grayson’s last few issues on Nightwing, this issue will do little to dissuade you. If you want to give Nightwing a try for the first time, this might not be the best issue to start your collection with.
That being said, if you have been following and liking Nightwing as of late, this is a great examination of the aftershocks of last issue.
The book unfolds in a split screen dreamlike sequence as Dick flashes back to the moments after Tarantula pulled the trigger on the behemoth Blockbuster. In the now, he finds himself getting shellacked by random gang members, disgusted with his new sort of partner, and generally too paralyzed with guilt to change any of it. Somehow, while all this is going on, Tarantula has managed to run afoul of yet another super villain.
I can understand how people might not like to see Dick in this condition. He is, very, truly, wrecked. It is disheartening to see a hero in that condition. I’m enjoying the story and I would rather not see Nightwing like that. My enjoyment of the arc, however, trumps my sadness for Dick. Sometimes characters do need to be taken to dark places they have not gone before for the sake of character advancement. It may not be pretty, but it does make for great drama.
IDENTITY CRISIS #1
First of all, does the death live up to the hype. On paper, no. If I was to spoil it here, you would think, “Eh, not surprising, but all that hoopla for that character’s death?
What’s up with that?â€
Reading the story, however, it is a whole ‘nother bag.
Meltzer warned us. He told us that that the death was not the point of Identity Crisis, but we couldn’t help but fixate on it. A natural reaction, sure, but if you are really only concerned with who’s demise kicked off the story you are missing the point.
I grew up a Marvel Zombie, so the Justice League of the early 80’s is not a reference point for me. In fact, the first Justice League I ever made a point of reading was Grant Morrison’s JLA. Therefore, Meltzer’s decision to make them the focal point of this storyline could be off putting. Despite that, in thirty pages worth of story, he made me care about them all.
He actually made me believe that the Elongated Man he spoke of in all his interviews was not just his memory playing tricks on him. Instead, Ralph turns out to be an interesting multiple dimensional character that does deserve a chance in the spotlight.
That is the main attraction of this issue in fact. Meltzer does not accept that characters are lame just because that is popular opinion. Everyone in the book is given a fair shake and thus everyone becomes intriguing.
The death scene, when it comes, is swift and brutal. The only disappointment of it is a tacked on moment that increases the tragedy, but reeks of soap opera melodrama. The emotional impact of it, however, is undeniable. Even knowing as little about the character as one could while still knowing their name, I found it heart wrenching.
Rags Morales’s art is well up to the task as well. It is befitting of the quiet, slow building tone of the first issue. I know he is equal to the action sequences to come, so I have no doubt that the quality of the art will be maintained throughout.
So, is IC worth all the hoopla? It does seem an odd choice for DC to trumpet as its mega summer event as it has, so far, chosen character over cosmic. If we are going by quality though, not just preconceived notions of big event comics, this is a great choice.
So, it turns out that the promise Brad made to me all those months ago was the real deal. He didn’t let me down in the least.
20 Million Un Gajje Fans Can’t Be Wrong
