The Sad Tale of Bill Finger Continues

Check out this article at Bleeding Cool. 

 The relevant section, a statement from Athena Finger, Bill Finger's Granddaughter:

75 years of Batman! No one could have predicted the longevity and the continued relevance of this comic book hero that has become a cultural icon when my grandfather, Bill Finger, collaborated with Bob Kane back in 1939. My grandfather has never been properly credited as the co-creator of Batman although was an open secret in the comic book industry and is widely known now. It is now my time to come out of the shadows and speak up and end 75 years of exploitation of my grandfather, whose biggest flaw was his inability to defend his extraordinary talent. Due to what I feel is continued mistreatment of a true artist, I am currently exploring our rights and considering how best to establish the recognition that my grandfather deserves.

I'm sure this will lead to another round of "oh, look at how evil DC Comics is!" With our kneejerk vilification of any corporate entity.

This issue isn't about DC - it's about Bob Kane and his estate.

DC has been sending, admittedly modest in relation to the value of Batman as a property, checks to the Finger heirs for years. There's even an interesting story of how a lover of Finger's now-deceased son was receiving checks from DC, instead of Kane's granddaughter, the rightful heir. When Finger biographer Marc Tyler Nobleman brought this to DC's attention, they rectified the situation quickly. At his San Diego Comic-Con presentation in 2012, Nobleman specifically pointed out that DC were not the bad guys in this story.

Finger is denied his rightful credit because of the contracts that Bob Kane, and his estate, have with DC Comics. Aside from the quote in his "autobiography" (Kane didn't really even draw 90%, and that's being generous, of what's credited to him, I doubt he wrote a book), Kane NEVER admitted Finger's central role (likely greater than Kane's) in the creation of the Batman mythos. During the 60's he even wrote personal responses, lashing out at anyone who suggested Finger's contribution.

I am almost certain that if the powers that be at DC could legally name Bill Finger Batman's co-creator, even just to set the record straight, leaving aside the money (which again, is really about Kane's contract - not DC welching), I honestly believe they would. Every creator, editor, etc, etc, I've ever heard speak on this issue knows EXACTLY what happened and how Kane, via his contact with National/DC, secured for himself sole credit, and the financial benefits thereof, for perpetuity. That doesn't mean they can speak openly about it, as legal matters often go.

Kane clearly benefited from coming after Siegel and Schuster, and seeing the vast monies that Superman was bringing in. He, or his father, was smart enough to secure a legally binding agreement with National/DC that paid off for him handsomely. Would that Siegel and Schuster had gotten such advice.

This also allowed Bob to keep Finger, and the multiple other "ghost" writers and artists he employed, from sharing that windfall. It may seem Machiavellian to our modern eyes, but that was the way cartooning worked in those days. Comic strips were often written and drawn by underlings in the paid employ of the person who's name actually graced the newsprint page. All the greats, Will Eisner, Jack Kirby, Joe Simon, had "studios" to accomplish the massive amounts of work they would undertake in order to make actual money. The difference, really, is that Bob Kane, reportedly, rarely drew or wrote anything himself.

In 2006, at the San Diego Comic-Con, I had the good fortune to witness a "Golden Age Batman" panel that brought a lot of these creators together. Their differing responses to working for Kane were illuminating, Shelly Moldoff, for instance, was very upfront about who Kane was, what he did, or didn't, actually do, but also felt that Bob had lived up to the agreements they had. This seemed to upset Jerry Robinson, who had long felt Kane had kept him from proper recognition as, at least, the co-creator of characters like Robin and The Joker. It was a lovely panel to attend, but it did leave me with one overriding impression...

Bob Kane was mainly interested in Bob Kane, and making sure that Bob Kane got as much money, attention and fame as he could. Bob Kane made a great deal for himself, and he enjoyed the fruits of his legal foresight. He also guarded his position jealously. You really can't deny it, and I see fewer and fewer Kane apologists as time goes on.

Let's take another look at Kane's quote about Finger from Batman and Me:

Now that my long-time friend and collaborator is gone, I must admit that Bill never received the fame and recognition he deserved. He was an unsung hero…. I often tell my wife, if I could go back fifteen years, before he died, I’d like to say, ‘I’ll put your name on it now. You deserve it.

Yes, he does, and perhaps Kane's widow, Elizabeth Sanders, might remember those times (if they actually happened, frankly) and extend this courtesy to the memory and heirs of Bill Finger. She's the one who can do it, not DC Comics. So, while we can celebrate the legacy that Bill Finger left us, and bemoan the injustice of his lack of credit, let us not forget that DC Comics has already gone beyond the compensation they were legally required to provide (which was nothing). What they cannot legally give, and it's probably the most important, the most meaningful, gesture, is credit. Only Bob Kane's estate can do that...

...And they don't seem to want to.

 

*I would've provided more pictures of Bill Finger, but very few actually seem to exist.

Again, I Get Annoyed With the "Fan Press" (TDKR SPOILERS)

FIRST OFF - NO LIE - SPOILERS FOR The Dark Knight Rises.

DO NOT READ THIS BLOG IF YOU HAVEN'T SEEN THE MOVIE!!!

YOU HAVE BEEN WARNED!  

Ok, there's this 2-part article over at newsarama.com about where the final moments of The Dark Knight Rises leave us, in terms of the long-term Batman franchise. Yet another example of fanboy supposition and speculation disguised as a legitimate "news" story, because it's on a comic-book news site. Now, let me make this clear...I have no problem with fanboy supposition and speculation. What I have a problem with is that it's presented as a editorial piece by a knowledgeable expert, and it's really just a guy blabbing about what he thinks Warner Brothers should/will do with the Batman Franchise.

What's offensive to me is this: The reason Christopher Nolan's "Dark Knight Trilogy" is likely the best live-action interpretation of the Batman we will ever see, not to mention great works of art, is precisely because Nolan approached the entire arc without worrying about how to nurture a continuing franchise. He aimed, at least from The Dark Knight, to END the Batman story he was telling, about the Batman he created for his films.

(This last point is a HUGE reason why Harry Knowles review of the film over on Ain't It Cool News is so utterly stupid. Nolan's Batman has been talking about "when the time comes that I can hang up this cowl" from the first film...incessantly. To act like him actually having done just that as The Dark Knight Rises opens is being willfully ignorant of the themes that Nolan has been laying out...Honestly, I feel like is has more to do with some slight from Warner Brothers, than anything else. Probably because Hollywood has caught up with the fact that AICN isn't the hot-bed of web activity it once was. You're far to easily read, Harry.)

THIS Batman story, Nolan's Batman story, perhaps THE definitive Batman story, is over. Bruce Wayne has left the cowl behind and found love, peace and happiness, and, Like Kevin Smith, I found this deeply moving. There were tears because, here, finally, our hero who had given so much, who had sacrificed for his city and his fellow citizens, who carried the weight for us all, was given the opportunity to have that weight lifted. From the age of 10, Bruce Wayne was carrying more than any person should be asked to, and here, finally, in the end, God, fate, Allah, whoever, let him put that down.

THAT was the most moving thing in the movie, to me. His virtue was rewarded. Yes, Nolan leaves us with the image of John Blake (Joseph Gordon-Levitt) entering the Batcave, and the idea that the mantle of the Bat will be carried forward. Even pointing out minutes earlier that his birth name was Robin John Blake (nice touch), but here's the real thing that pisses me off....

WHY THE FUCK ISN'T THAT GOOD ENOUGH?!?!?!

Nolan leaves us with a lyrical, satisfying ending that ties in deeply to the character, and the concept of heroism, on thematic and story levels. It's complete. It's powerful. It's moving. And the first goddamn thing the assembled fanboy brigade can do is start whining about "where do we go from here?" Not in a "wow, I love the questions Nolan left me with" way, but in a "where's my next movie" way.

Nolan has always talked about "the many interpretations of Batman," he understands that every creator puts his mark on the character in ways that the next creator may or may not make use of. This is Nolan's take on a complete Batman epic, unencumbered with bullshit like continuity and shared universes. What we, as fans should take from this is really damn simple....

Continuity, more often than not, hinders storytelling, rather than adding to it.

Frank Miller's The Dark Knight Returns was NEVER Supposed to tie into the "regular" DC Comics universe. It was Miller's attempt to tell an iconic story about the end of a hero's life, without having to be tied to 10 other books, or what the character was doing in Justice League of America. THAT'S why the story is great. You can say the same about Alan Moore and Brian Bolland's The Killing Joke. The reason these stories are great and live on is because there are no rules, period.

It's only after the fact, when these two stories because so popular, and the fans started clamoring about "how they fit" into the comics they were reading on a monthly basis, that things got fucked up. With various elements from these stories, that weren't supposed to fit in perfectly, being forced into the "regular" books. What DC should've had the balls to do, and I hope Warner Brothers learned the lesson, is say, "they don't. We're looking for someone with a visionary new story to tell about this character, period." I think John Blake taking up the mantle of the Batman, and being the first of a continuing line of defenders of Gotham is fun to turn around in your head, but I don't need, or want, to see a movie about it.

 Plus, I don't think Joseph Gordon-Levitt would be interested without Nolan. I know, speaking as an actor, I wouldn't.

Why? Because that was Nolan's story, and Nolan's made quite clear that he is done with Batman and superheroes. (I would advise all of you to quit thinking that Nolan is hands-on with Man of Steel. His own comments make it pretty clear that he was just there to jump-start production as a favor to David Goyer and Warner Brothers) I don't want to see Darren Aronofsky trying to work inside Nolan's version of Gotham City, I want to see what Aronofsky would build from the ground up. I want to see how David Fincher would tell Batman stories, or Joe Carnahan.

And, yes, those three guys, Aronofsky, Fincher or Carnahan, are my dream directors to carry on the franchise. Not the continuity, but the franchise. They encapsulate audacious film-making with deep understanding of the crime genre. What Nolan understood that, say, Tim Burton didn't, is that "superhero" doesn't have to be a genre. Nolan made epic crime films, that happen to have a superhero in the middle of them.

Now, I'll put on my speculative hat....

My best guess is that we won't see Batman in a movie theatre until Warner Brothers gets a Justice League movie off the ground. It will be an all-new Batman, unconnected to any previous film version, and compatible with a unified DC Comics film universe. This isn't the Superman situation, with a lawsuit forcing Warners into having the Man of Steel on screen, or possibly losing the rights. The sad thing is, that's almost guaranteed to generate a much less distinctive and singular interpretation of the character. It will pale next to Nolan's version. Best case scenario, in my mind, is somebody reads a ton of Grant Morrison's JLA run, and casts Batman as the know-it-all/smartest-guy-in-the-room that was so much fun in those stories.

Frankly, I'm asking the fanbase to just stop. Stop trying to do to these films what you've done to the comics, with the incessant need to know how everything fits together. You've reduced the big two (Marvel and DC) comic companies to shoving out books as pacifiers between the big crossovers that "really matter," but never amount to anything. Every single one of those events promise "sweeping change," and it usually amounts to somebody getting a new costume.

Enough.

Nolan gave you sweeping change. Nolan gave you an ending, a deeply compelling, emotional end to the adventures of HIS Batman. Accept it as the gift it is, and demand that the next version be as well thought out and lovingly crafted.

More Watchmen

Apologies to anyone who doesn't know anything about the 1986-1987 comic book mini-series/graphic novel Watchmen. It's a seminal comic book work by writer Alan Moore, and artist Dave Gibbons. Along with Frank Miller's The Dark Knight Returns, it heralded a new, more adult, comic book style and readership. The characters and concepts of the series have never been revisted.

So, after a whole hell of a lot of rumors, the other shoe has dropped.

I'm sure there's going to be a ton of teeth-gnashing over this. "How DARE they do that to Alan Moore," and all that shit. The fanboy desire and ability to be offended by something is powerful and deep. I mean, even if we acknowledge that it's the "greatest graphic novel of all time..."

(which, personally, I think was bestowed mainly because it falls into the superhero genre that Fanboys are comfortable with - I'd probably pick A Contract With God, or some other Will Eisner work, Jeff Smith's Bone, or even David Mazzucchelli's Asterios Polyp, but that's me)

...it's just a comic book.

I mean, we think nothing of Superman or Spider-Man being re-interpreted. We expect Batman to have continuous adventures, at varying levels of quality, and, in fact, I'd argue it's completely out of character for Batman to just quit fighting crime. These characters, superheroes, are from the pulp, serialized fiction tradition, a tradition that Moore lifted from liberally in crafting the original story. Hell, almost every, single Watchmen character has elements taken from the characters DC Comics bought from Charlton Comics, and were intended to be the original stars of the series. Moore didn't create in a vacuum.

All that said, you are dicking around with what is widely regarded as the greatest superhero story of all time. It's almost a no-win situation for everyone working on this project, except DC Comics, as a publisher. The books will sell, without a doubt, even if it's just so the fanboys can grouse about "spending $3.99 for that!"

(Oh, for damn sure these will be at the highest possible price point.)

The creators involved, however? Man, even if they have a good idea, and it's executed perfectly, it'll read as a disappointment. Even a "great" comic will be going up against an original that's "genius." If they ape the style of the original, they'll be crucified for not being original. If they aggressively set out on a different path, they'll be crucified for not respecting the original work. That's a shitstorm of expectations and fears to navigate.

The good news is that DC came up with a pretty damn fine team to take a stab at it. There are people involved who's work I will ALWAYS buy.

• Rorschach by Brian Azzarello and Lee Bermejo
• The Comedian by Brian Azzarello and JG Jones
• Minutemen by Darwyn Cooke 
• Silk Spectre by Darwyn Cooke and Amanda Conner 
• Doctor Manhattan by J Michael Straczynski and Adam Hughes 
• Nite Owl by Joe Michael Strazynski, Andy Kubert and Joe Kubert
• Ozymandias by Len Wein and Jae Lee.
• There will also be a single issue, Before Watchmen: Epilogue, featuring the work of various writers and artists, and a Crimson Corsair (a Pirate tale that will also be a back-up feature in the other titles) story by Len Wein and John Higgins.
  

Darwyn Cooke and Amanda Conner are on my "favorite comics artists working right now" list. So, Minutemen and Silk Spectre will be must-reads. J Michael Straczynski runs hot and cold, for me, I'll buy Nite Owl, because I love the character, but Doctor Manhattan is a maybe, despite how much I like Adam Hughes art. Azzarello has proven to be consistently interesting, and I love both characters, so Rorschach and The Comedian will be likely. Ozymandias? *shrug* The Crimson Corsair stuff I could also care less about.

Ultimately, one can only speculate about what we're going to get, and how good it might be. I will say, it's a smart move to do prequels, as trying to follow Moore's original story's ending would be ridiculous, and in some cases impossible. They've also tapped the right people, I think. Cooke's sensibilities seem tailor-made for a Minutemen Story. Azzarello's dark, noir sensibilities are right in the track for Rorschach and The Comedian.

Of course, Alan Moore is not happy. Alan Moore hasn't been happy with anything involving DC comics for a very long time. Which is his right, but I begin to tire of his continual objections, which flare up, understandably, every time DC or Warner Brothers try to exploit the properties he created and published via their company. He's refused to accept payment, or credit, on the film adaptations of V for Vendetta and Watchmen.

He has a principle, and I get that. More power to him, but I also feel like his hyperbole about "draconian contracts" is a little stale. My understanding is, if DC stops printing Watchmen, it reverts to Moore and Gibbons. VERY few creators could get that kind of deal in the 80's. I'd bet a lot of creators would've loved that deal in the 80's.

At that time, the idea that a comic book would still be in print 25, or even 5, years later was unheard of. Nobody thought Watchmen would be as big as it is, they took a risk in publishing it, and, apparently, Moore's mad it wasn't JUST successful enough so that he could exploit the characters himself (even if that's just reprinting the original book), but DC wouldn't want to continue to publish it?

They paid Moore for the work, and (I believe) continue to pay him residuals, because the book was a success. They try, every time, to give Moore credit, and pay him, when the properties are exploited in other mediums, but Moore refuses. Alan Moore is not Siegal and Schuster, here.

That said, I'm not 100% sure I don't agree with Moore that this Before Watchmen project just simply shouldn't exist. Even if Cooke, JMS, and Azarello have cooked up something spectacular (I have faith that Darwyn Cooke, in particular, would not put his name on something he didn't believe in), it's highly unlikely to ever be a classic. Much like Scarlett is often nothing more than a curiosity read for fans of Gone With the Wind, Before Watchmen will probably always been seen as an attempt to exploit a property. To make more money by putting more product on the market. It makes sense, and I'm not one to begrudge anyone making a living.

However, I'm always ready to be proved wrong. I guess we'll all find out in the summer.

DC Comics' New 52 - Week 4

Big week, purchase-wise. I have to say, after hearing from a few people that this week's books sucked, I was pleasantly surprised how much I liked ALMOST all these books.

All-Star Western #1 -$3.99

Written by JUSTIN GRAY and JIMMY PALMIOTTI
Art and cover by MORITAT

Even when Gotham City was just a one-horse town, crime was rampant – and things only get worse when bounty hunter Jonah Hex comes to town. Can Amadeus Arkham, a pioneer in criminal psychology, enlist Hex's special brand of justice to help the Gotham Police Department track down a vicious serial killer? Find out in this new series from HEX writers Justin Gray and Jimmy Palmiotti, with lush artwork by Moritat (THE SPIRIT)

Two writers I love. An artist I love. A character I love.

I was REALLY nervous about this book. Jonah Hex is one of the titles that I really think should've survived the New 52 purge. It was simply the most consistently great book DC was putting out. I was not overly excited to have the series blend more closely into continuity. I was not excited to have a "Western" series set in one of the largest DC Universe's east-coast cities.

But, y'know, it works.

Hex gets more than a few laugh-out-loud badass one-liners, and I was amused by Doctor Arkham's attempts to psychoanalyze my favorite western bounty hunter. Generally, the story was compelling, and the characters were fun. I do hope the whole series isn't built around Hex and Arkham as some sort of Holmes/Watson team, and the title (and price) seem to suggest an anthology book. I'll be there.

Aquaman #1 - $2.99

Written by GEOFF JOHNS
Art and cover by IVAN REIS and JOE PRADO

The superstar creators from BLACKEST NIGHT and BRIGHTEST DAY reunite to take AQUAMAN to amazing new depths!

Aquaman has renounced the throne of Atlantis – but the sea will not release Arthur Curry so easily. Now, from a forgotten corner of the ocean emerges… The Trench! A broken race of creatures that should not exist, an unspeakable need driving them, The Trench will be the most talked-about new characters in the DC Universe!

Pretty good first issue. I think maybe they hit the meta-textual "Aquaman sucks" angle one too many times. I certainly can't imagine the whole series based around people insulting Arthur Curry, then watching him kick ass. That said, a solid introduction to Aquaman, and a gentle reminder that he is a power player in the DCU.

Also - I'm looking forward to seeing how The Trench will play out. They're excellently creepy.

Batman: The Dark Knight #1 - $2.99
Written by DAVID FINCH
Art by DAVID FINCH and RICHARD FRIEND
Cover by DAVID FINCH

The Dark Knight struggles against a deadly – yet strangely familiar – foe in this phenomenal debut issue from superstar writer/artist David Finch (BRIGHTEST DAY, ACTION COMICS)!

As a mysterious figure slinks through the halls of Arkham Asylum, Batman must fight his way through a gauntlet of psychos, and Bruce Wayne faces the unexpected legal ramifications of Batman Incorporated!

ZZZZZZZZZZZZZZZZZZZZZZZZZZ - *snort* Huh?

Oh, yeah...I'm dropping this book.

The Flash #1 - $2.99

Written by FRANCIS MANAPUL and BRIAN BUCCELLATO
Art and cover by FRANCIS MANAPUL
Variant cover by IVAN REIS and TIM TOWNSEND

The Fastest Man Alive returns to his own monthly series from the writer/artist team of Francis Manapul and Brian Buccellato! The Flash knows he can't be everywhere at once, but what happens when he faces an all-new villain who really can! As if that's not bad enough, this villain is a close friend!

Good start. It was more compelling, and made Barry Allen more of an interesting character, than Geoff John's series. I'm assuming Manapul is plotting. If so, nice job. He seems to understand that The Flash is all about movement, and keeping a flow going. Well done.

I also have to admit, sacking the Barry/Iris marriage, and inserting another possible love interest perked things up a lot. I like how Iris seems to assume a lot with Barry, and Barry's just kind of confused by it. Drama, man...

Superman #1 - $2.99

Written by GEORGE PÈREZ
Breakdowns and cover by GEORGE PÈREZ
Art by JESUS MERINO

The new adventures of Superman begin here! What is The Man of Steel's startling new status quo? How does it affect Lois Lane and The Daily Planet? There's no time for answers now, because Superman must stop a monstrous threat to Metropolis – one that he somehow is the cause of!

Still hate the suit. It's just too much blue. The red belt sets it off a little better (better than the suit for the new movie, anyway), but it just makes it look boring.

I had a friend say that Perez's dialogue sucked, but I don't agree. I felt it was a real classic comic book feel, and really the "ripped from the headlines" element flows a bit better than in Action, simply because the whole story is about it. It's a dense, classic, type of issue. Very little decompression. Perez shoves a lot of story into these 22 pages. I appreciate that, a lot.

I'm sad he won't be with the title longer...

DC Comics' New 52 - Week 4

I did not stray out of my regular pull list this past week, because even with that I had over $20 in books, so the only New 52 book I picked up was...

Batman #1 - $2.99

Written by SCOTT SNYDER
Art by GREG CAPULLO and JONATHAN GLAPION
Cover by GREG CAPULLO
Variant cover by ETHAN VAN SCIVER

Be here for the start of a new era for The Dark Knight from writer Scott Snyder (AMERICAN VAMPIRE, BATMAN: GATES OF GOTHAM) and artist Greg Capullo (Spawn)! A series of brutal killings hints at an ancient conspiracy, and Batman learns that Gotham City is deadlier than he knew.

It's real clear to me that Scott Snyder is the best Batman writer working on a monthly right now. His Detective Comics run, prior to the reboot was fantastic, and, for my money, this is the guy who should be guiding the Batman titles, rather than Grant Morrison. I'm honestly hoping that, with Morrison on Action Comics, and helping re-define Superman, we'll see Batman, Inc., and that whole concept slide into obscurity.  Of course, with that being the basis of a number of the New 52 titles, I'm not going to hold my breath. I, unlike Morrison, don't equate Batman with James Bond, the "hairy-chested love-god."

What's lovely is that I don't think any of the writers on the core Bruce Wayne-centric Batman titles see him that way, either. Snyder, Tony Daniel, and David Finch (Oh, God...**SHUDDER**) all seem to really gravitate toward the urban vigilante that's been the bread and butter of the character since Denny O'Neil and Neil Adams put things right in the 70's. Morrison's unending obsession with the most ultra-bizarre (and, admittedly, ultra-creative) antics of the Silver Age feels right with Superman, but falls down when I see them applied to the Dark Knight.

All that said, Batman, Inc. is in line to be revived within months...

Anyway, Snyder accepts the status quo and shows Bruce Wayne putting forth a rather Batman, Inc.-style plan, but it's also centered on reviving Gotham City. I find this fine, because it reinforces Bruce's iron-clad connection to, and obsession with, his city. Plus, Snyder can write mystery/crime/noir style with flash and panache. It's great stuff, not quite as dark as his final Detective Comics arc, but...I really enjoyed it.

DC Comics' New 52 - Week 3 and a couple other things

So, week three, and here's what I picked up:

Batman and Robin #1 - $2.99
Written by PETER J. TOMASI
Art and cover by PATRICK GLEASON
and MICK GRAY

Battling evil with his son, Damian, at his side, Batman now realizes that the hardest part of the job may be trying to work together!

As Batman and Robin try to adjust to their new partnership, a figure emerges from Bruce Wayne's past: His name is NoBody, and he's not happy that Batman Incorporated is shining a light on his own shadowy war against evil...

Decent enough "restart." We get a bit of Bat-history, and then the Dynamic Duo into the breach with some sort of gyroscopic sewer-vehicle. Setting up a big bad who's taking out Batman, Inc. agents. I'm no fan of the Batman, Inc. concept, but the villain seems genuinely creepy.

What I did really like was finally seeing Bruce and Damian work together. Amusing, to me. They're both fallen from the same branch, no doubt. Headstrong, and certain of themselves over all others. I just hope it doesn't turn into a father and son trying to out a-hole each other.

Green Lantern #1 - $2.99
Written by GEOFF JOHNS
Art by DOUG MAHNKE and CHRISTIAN ALAMY
Cover by IVAN REIS and JOE PRADO
Variant cover by GREG CAPULLO

The red-hot GREEN LANTERN team of writer Geoff Johns and artist Doug Mahnke introduce an unexpected new Lantern.

Sound like the copy you'd have read before the "New 52?"

It is. Literally, NOTHING has changed here, at all, and it kinda bugs me. I realize that Green Lantern is DC's best selling title right now, and "if it ain't broke, don't fix it" is always a smart strategy. That said...I mean, they might as well have kept the original numbering.

And Sinestro's a Green Lantern again. Whoop-de-do. You've already set up Jordan coming back on the last page...

Resurrection Man #1 - $2.99
Written by DAN ABNETT and ANDY LANNING
Art by FERNANDO DAGNINO
Cover by IVAN REIS and JOE PRADO

It's the return of Mitch Shelly – and he's still dead.

Resurrection Man can't stay dead for long, though – and with each rebirth comes new and unexpected powers. But his many returns have not gone unnoticed, and forces are gathering to learn what's so special about him – and to see which of them will finally stop Resurrection Man dead.

So, a LOT of people told me I should read Resurrection Man, who's a cult favorite from DC history, brought back as part of the New 52. Decent book, fairly exciting, well-written and drawn, but I'm not seeing the jump-up-and-down awesomeness here.

The way it seems to me is that Mitch Shelly is pretty damn close to a character called "The Sleeper" from the Wild Cards series of mosaic novels edited by George R.R. Martin (yeah, the Game of Thrones guy). The Sleeper would hibernate, and awake with a new power (and appearance), rather than die, but the idea is pretty similar.

The book is well done enough, so I'll likely give it another issue or two to wow me, but...I got a budget, man.

Also out this week was:

Ultimate Spider-Man #1 - $3.99

Written by: Brian Michael Bendis
Art by: Sara Pichelli

A good book, by any way of looking at it. The writing is top-notch Bendis, and I love Pichelli's art.

However, I have a few nits to pick. One, we saw Miles Morales in action as Spider-Man months ago, why are we back to square one. Square one in "plotting-for-the-trade" terms, too. Meaning, no real superhero action, at all.

Two, invisibility? How would you gain that ability from a radioactive (or whatever) spider? Hopefully Bendis will have a garbage science explanation there.

Three, and this is the big one...I really, really don't want Miles to come off as "Peter Parker, but ethnic." Some of the elements on display here felt a little too close to Peter Parker plot elements. I want him to be his own character, and not feel like he's just in the shadow of the "real" Spider-Man. I'm 100% in favor of this move on Marvel's part, but only if they truly create a new character. I'm not saying they've failed yet, but there's a couple of red flags, for me, in this issue.

And just a pitch for a book I've really been enjoying, and I think you might, as well...

Daredevil #3 - $2.99

Written by: Mark Waid
Art by: Paolo Rivera

Good, old fashioned Marvel comic booking here. Waid has done a tremendous job of just gleefully accepting the rather dark turn things had been on for Matt Murdock and his alter-ego, then moving on. This is a fun book, and it reminds me of the Marvel comics I read as a kid. Great stuff.

DC Comics' New 52 - Week 2

Now, first off....I am not buying all the "New 52" number one issues. I can't afford it, and, frankly, I have little interest in many of the titles. Long ago, I made a vow that I would not buy comics just because "I should," or "I need to." This is why, with most crossover events, I'll only buy the core series, period. DC's recent Flashpoint being a good example.

Of course, that series was rendered almost incomprehensible unless you read the 14 (Yes, FOURTEEN) limited series that tied into the story. It's ridiculous, annoying and alienating to new readers, so can we stop that crap right now? Please?

So, I buy what I like...I also, long ago, realized that no comic published after 1985 is ever going to be worth any sort of spectacular amount of money. So, the "collectability factor" is nil for me, other than in the "I've followed this character for years, and enjoy the stories" sense.

So, DC marketing, no matter what you do, I won't be buying all this stuff. I will buy what's interesting. I will buy the new versions of the series I was already following, and...that's it. So, last week, DC released fifteen titles, and of those fifteen, I bought three.

Action Comics #1 $3.99

Written by GRANT MORRISON
Art by RAGS MORALES and RICK BRYANT
Cover by RAGS MORALES
Variant cover by JIM LEE and SCOTT WILLIAMS

The one and only Grant Morrison (ALL-STAR SUPERMAN) returns to Superman, joined by sensational artist Rags Morales (IDENTITY CRISIS), to bring you tales of The Man of Steel unlike any you've ever read! This extra-sized debut issue is the cornerstone of the entire DC Universe!

This was a book that the reboot actually did inspire me to pick up. I've never been a huge Superman fan, but I want to be. I want someone to write truly inspiring and interesting stories for the greatest of all comic book icons. The sad fact is, outside of a few shining moments, no one has been able to consistently do that for years. It's a crime.

I have to admit, Grant Morrison is very, very hit-or-miss with me. Like any other writer, he has strong material, and poor material. The problem with Morrison is that, when he misses, the whole thing becomes pretty much incomprehensible (See: Final Crisis). I was not as enamored with his All-Star Superman as the rest of the known universe seemed to be, and, frankly, what I did like about that book, the sheer silver-age whimsy of it, isn't on display here.

What Grant is obviously doing is heading straight for the golden age origins of Superman, and, hell, that's appropriate, it is a reboot, after all. this is another of the books that takes place "five years ago" (or thereabouts), but I don;t think Morrison, or the editors, actually tell us that at any point here. That's annoying. One of the major indicated goals here was to make DC comics new-reader-friendly, and when you have a "contemporary" Superman title coming out within weeks, and the character is sporting completely different outfits in each book....You should maybe point that out. Geoff Johns did so in Justice League #1.

The core of Morrison's hook for Superman, here, is...back to the golden age roots as a social crusader and force against the status quo of financial and status inequality. It's supported by Simon and Schuster's original books, and it certainly plays to current events in America. It's a completely valid and rather smart way to try to re-assess and reset the character. The trouble is, I felt it was a bit too self-aware.

Comic books certainly aren't supposed to be subtle forms of art, but I feel like Morrison could've dialed it back a notch. When Superman is holding an investment banker over his head, threatening to toss him off a building, railing about his privileged lifestyle, and forcing him to admit his exploitation, I was taken out of the story a bit. It is in character, but it's also just rather "throw the whole can of paint at the wall" relevance. We get it, Grant, we really do. You don't have to spell it out.

That aside, what we have here is a highly energized Superman story that's surprising in how it re-casts the usual suspects. Clark works at a rival newspaper from Lois and Jimmy, the costume (obviously) is evolving. I'm certain by the end of this first arc, we'll have Clark working at the Daily Planet, in some sort of romantic tension with Lois, and generally much closer to the status quo, as we knew it. So, I guess my worry is that this first arc may end up feeling like some kind of long-form Elseworlds tale.

Detective Comics #1 $2.99

Written by TONY S. DANIEL
Art by TONY S. DANIEL and RYAN WINN
Cover by TONY S. DANIEL

DC's flagship title is relaunched for the first time ever, with new Batman adventures from acclaimed writer/ artist Tony S. Daniel!

A killer called The Gotham Ripper is on the loose on Batman's home turf – leading The Dark Knight on a deadly game of cat and mouse.

Unlike Action Comics, the Batman titles have really changed very, very little. They, like the Green Lantern titles, apparently received a "if it ain't broke, don't fix it" pass from DC editorial. The only signifigant change was bringing Bruce Wayne back to the status as the one-and-only Batman. Which, I have to admit, I prefer.

Tony Daniel was on Batman before the restart, and now he's on Detective Comics. I know a lot of people were not fond of Daniel on Batman, but I felt like he was cranking out solid, if not remarkable, Batman tales, and doing it on deadline. You could rely on Daniel's Batman getting to you in a timely manner.

Well, he certainly upped the stakes with this Detective relaunch. The story is downright disturbing and, at times, gross. It's also got a hell of a cliffhanger that may mean a drastically different status quo for the Joker. Now, if that will stick, or not, is up in the air.

Daniel will likely be over shadowed by Scott Snyder, who was writing Detective Comics, but is now on Batman. Frankly, Snyder's last Detective arc, exploring Commissioner Gordon's psychopathic son, was one of the best Batman stories I've read in a long while. Daniel just hasn't shown us that kind of work, yet.

It's clean, solid storytelling, neither fantastic or awful. Sometimes that's fine.

Men of War #1 $3.99

Written by IVAN BRANDON
Art by TOM DERENICK
Cover by VIKTOR KALVACHEV

On the ground and on the front lines, a young, headstrong soldier known as Joe Rock assumes command of Easy Company – a team of ex-military men turned contractors. Will they survive the battle-scarred landscape carved by the DCU's Super-Villains? Find out in this explosive new series from Ivan Brandon (Viking, DOC SAVAGE) and Tom Derenick (JUSTICE LEAGUE OF AMERICA)!

I love it when one of the majors really comes out swinging with a non-superhero book.  One of my most anticipated "New 52" titles is All-Star Western, and not just because it's carrying on from my now-cancelled, beloved Jonah Hex, which was the most consistently good book DC had (Same writers, so...I am expecting the quality to continue).

I'm also a fan of the old WWII-era war comic Sgt. Rock. Well, the lead feature in Men of War is about Joseph Rock, Sgt. Frank Rock's grandson, and (bit of a spoiler, here) Joseph is a Sergeant by the end of this issue. I had hoped for a pure military comic, but this title is firmly within the DC Universe, and super-powered beings are part and parcel of what this unit deals with.

I was on the fence about this one, until I spoke with a few people who thought it was very good, so I thought I'd throw my $4 out there, and take a chance. I'm glad I did.

I think this could develop into a really solid "average joe" viewpoint on the world of DC. We have soldiers trying to hold it together as, hell...GODS fly over their heads, smashing the ground into gravel. I was also really happy to see that this title will apparently feature back-up military stories. The first issue featured a Navy Seal team trying to deal with adversaries using human shields. I think back-up stores really need to make a come-back...but I'd also like to see this title kept to $2.99, rather than $3.99.  So, po-tay-to, po-tah-to.

Also...what a striking cover. Clean, simple, but also very evocative. Well done.

DC's "New 52" Justice League #1

So I picked up my books yesterday, instead of waiting for the weekend, as usual. Yesterday was ground-zero of the "New DC Universe" with the release of Justice League #1, written by Geoff Johns, and art by Jim Lee.

***SPOILERS AHEAD***

I really liked it.

I mean, it's got a lot of things about it that just are what the comic format is these days, that I'm not fond of (trade pacing, etc), but, as a starting point, it makes lots of sense, from using your two best selling characters (Batman and Green Lantern) on out. I think it's a little weird to set the book "five years ago," but it does provide a way to show this group of characters first meetings without many story contortions.

I thought the "first meeting aspect was handled well. I really liked the characterizations of both Hal and Bruce. I disagree with people who say that Bruce is still a Dick in the new DC Universe. Judgmental, impatient, sure...but he also joins right in with Hal, as an equal....while also gathering data (I LOVED the taking the ring scene).

The Pre-Cyborg stuff...*YAWN*. Not that it was bad, but it just didn't really add to the drive of the story.

I loved how Superman appeared. I like that idea that trust is something the heroes have to earn from the rest of humanity. The tease of Darkseid didn't bother me at all, either as a established fan, or *trying* to put myself in the mindset of a new reader, it was a mystery to be unfolded.

Lots of energy and, even with the trade pacing, things happened. It didn't feel like all set-up. It was fun, and it was new-reader friendly, taking what a civilian might know from movies/childhood memories, and then just jumping into the story. Notice you really spend no time going into detail about Batman...because everyone knows the basics...but we do spend a bit of time setting up who and what Green Lantern is.

I still say Lee will be 4 issues behind by January. I've kinda grown to hate that guy, from his deadline destruction (not just blowing, but completely smashing), to his less than attentive attitude at conventions where I've seen him,  but the art is good, you can't say otherwise. I just feel like he's got to prove somethign to me, at this point...Johns, I'll give him a lot of leeway.

I think, while I wasn't thinking "over the moon GENIUS!!," this is a good, solid start to our new continuity, and I'm kinda finding myself really taken with the idea of starting fresh. We'll see how the rest of the line goes.

It's been about 25 years, or so....

Time to start from scratch!

  

So, DC Comics is revamping their entire universe. New number one issues all around, younger versions of the "Iconic" heroes.

That Jim Lee artwork above is all we have, so far. He'll be drawing a new Justice League, with Geoff Johns writing. All I can say about that is, I hope Lee is already 18-20 issues ahead, because the guy's track record, flat out, sucks. I will not abide a line-wide reboot with a flagship book that is eternally late. 

What the hell happened to finishing All-Star Batman and Robin, by the way?

One thing I will say...Why does everyone's costume have the same collar? Even Wonder Woman has that choker thing, and are those the damn PANTS again?!? Plus...for my Buddy Ken...Superman has RED TRUNKS!!

Anyway, I'm not as down on this as you might expect. The fact that it's coupled with same-day digital distribution is also, at the very least interesting. Or, as my buddy Paul, who owns a shop said, "INTERESTING." It reads to me like a full-court press for new readers, and anybody who follows the comic industry (who doesn't have their head in the sand) knows we need new readership, badly. If you're going to pull the new, young, tech-savvy kids, this is the best chance. Not only can you just download (legally) the books, now, but they're not going to be built on 30 years of continuity you haven't read. 

Don't think it doesn't amuse me greatly that this is all stemming from the Flashpoint crossover, tied to the return of Barry Allen as the Flash, and this new start is just the sort of thing that the Barry fans that wanted him back sooooo badly are going to just HATE.

Plus, what an elegant way out of the "problems" that continuity has wrought. Multiple Batmen and Grant Morrison's increasingly whacked-out Batman storylines? *poof* Bruce Wayne is the one-and-only Batman, and I'll lay dollars to donuts Dick Grayson is Robin, and Barbara Gordon is out of that wheelchair, back into her Batgirl costume.

Multiple Flashes, and Wally West saddled with a wife and two kids? *poof* He's back to Kid Flash!

Superman's married to Lois Lane *poof* The Clark/Lois/Superman love triangle is back in play. Hell, DC editorial has been trying to fix that one for YEARS, without resorting to death or d-i-v-o-r-c-e, and this is a damn sight more elegant than having Clark make a deal with the devil. (Yes, Joe Quesada and Marvel, that was a bitch-slap for you)

I've been reading comics for decades now, and frankly, this sort of thing needs to happen from time to time. It does. It does anyway, I mean how old is Batman? Green Arrow celebrated his birthday in real time during his series in the 90's, he'd be retirement age now, if we kept to that. DC has just made it official. 

Which doesn't mean I like the damn costume changes, which aren't really needed.

What if I was Editor in Chief of DC Comics?

I spend some time on the comicbloc.com message boards. I find them an interesting group of people, who, amazingly for the internet, get along pretty well.

Today I noticed an interesting discussion;

Basically, you need to select no more than 20 ongoing comics for DC. That's it. (Events, minis, and non-DCU stuff like Vertigo notwithstanding)

What would you choose?

I thought about that for a minute. There are easy ways to answer that, fanboy favorites, all Batman titles, etc...

But what would I REALLY do?

1. Batman
2. Detective Comics
3. Superman
4. Action Comics
5. Flash
6. Green Lantern
7. House of Mystery
8. Wonder Woman
9. Brave and the Bold
10. JLA
11. Teen Titans
12. Doom Patrol/Metal Men (11 page stories each)
13. Adam Strange
14. Birds of Prey (Oracle/Black Canary/Huntress/Manhunter/The Question)
15. Doc Savage/The Shadow (11 page stories each)
16. The Spectre/Zatanna (11 page stories each)
17. Aquaman/The Atom (11 page stories each)
18. Green Arrow/Hawkman (11 page stories each)
19. The Power of Shazam!/Plastic Man (11 page stories each)
20. Jonah Hex

Now, I don't pretend that I've got this all figured out, or that this would even work. It could add up to complete disaster, honestly. I, personally, would just be curious to see how my "plan" here might, or might not, work.

Now, what was the thought process here?

Starting from the top:

Batman and Superman are your cash cows, so the impulse is to do a bunch of series featuring them and/or tying into their series (Robin, Supergirl, Nightwing, Superboy, Gotham City Sirens, Streets of Gotham, World of New Krypton, World of Metropolis, I could go on.) I wonder if this doesn't dilute the brand?

What if we held these characters to their two traditional titles, Batman and Detective Comics for Batman, Superman and Action Comics for Superman? what if we increased the size Detective and Action, so as to make them able to present the entire "families" of these heroes? Rotating back-up slots for Robin, Supergirl, et al? Perhaps the fans of these characters would stick for the long haul?

Perhaps we also try to broaden the idea of what a DC Comic is? Try other genres, or at least styles? Adam Strange (Sci-fi), Jonah Hex (Western), and House of Mystery and The Spectre/Zatanna title(Horror/Magic) allow us to try some different genres within established DC Universe characters. The Doc Savage/The Shadow shared title can allow a bit more pulp adventure /noir style. Lastly, the Shazam/Plastic Mantitle can allow a more tongue-in-cheek, Golden Age superhero style to play out.

I think the dual headliners series is an idea that needs to come back. DC has lots of recognizable 2nd and 3rd-teir heroes that could be a draw if paired with a appropriate co-headliner. Plus, it would keep these characters in the spotlight on a regular monthly basis, and hopefully allow them to gain fans and popularity. Meanwhile, we allow those 2nd teir character that have proven followings (Flash, Green Lantern) to carry books.

I was very concerned, after my first run at this, that I had little to no female-dominated books. Wonder Woman has always been problematic, she's never had huge sales in the modern era, and never been able to cary a second title. However, we have to publish Wonder Woman. We also need other female-led series, so we bring a few more female crimefighters into Birds of Prey, and run with it.

Anyway...I'm sure that's totally disjointed and rambling, but...It's a blog.