relaunch dc

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Black History Month (Year 3) | Day 11 | Static, Static Shock

Static was created by Dwayne McDuffie and Robert. L. Washington III. He first appeared in Static #1 in June of 1993. He full name is Virgil Ovid Hawkins, which is the same name of the first African American male to go to law school. Static was a key character and staple in the Milestone Comics line-up. In 1997, Milestone stopped publishing comics which left Static up in the air until September of 2000 when the WB (now CW) released Static Shock. The animated series series lasted four whole seasons which lead to the rebirth of Static in the comic world. Static Shock: Rebirth of Cool, a comic book miniseries, was released in 2001 and in 2009 the trade paperback of the series was nominated for a Glyph Comics Award for Best Reprint Collection.

In 2008, Static joined the mainstream of the DC Universe where he would be added to the Teen Titans. He made his first canonical appearance in Terror Titans #4. In September 2011, as part of an effort to better integrate Static into the DC Universe, DC relaunched a new Static Shock series which takes place in New York City instead of Dakota (where Static is originally from).

Aside from his own, Static has had other appearances in a number of different television shows and films. He appears in Batman Beyond, Justice League Unlimited, Young Justice: Invasion, and Justice League: War (cameo, first appearance in a DC Film). During his series’ original run he has crossed paths with the Justice League, he teams up with them to take down Brainiac.

Static has the extraordinary ability of creating, conducting, and manipulating electricity. Otherwise known as electromagnetic phenomena generation. He is capable of interacting with wireless communications, and grows to eventually become an expert scientist, inventor, and strategist.

In the Fresh Prince of Bel Air, there is a framed copy of Static #1 on the wall in Will & Carlton’s pool house.

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Static Shock and 4 More Titles Part of MILESTONE Reboot

In a packed room at New York Comic Con, Milestone Media partners Derek Dingle, Denys Cowan, and Reginald Hudlin revealed the scope of their line’s rebooted relaunch with DC Comics.

“This is a reset so no previous knowledge required,” said Hudlin, saying that they will be expanding on the original Dakotaverse and won’t be restricted by previous work.

The line will begin in spring 2018 with a Milestone #1 relaunch written by Hudlin and Cowan with art by Ken Lashley, which will establish an over-arching storyline for the Milestone titles utilizing Icon and Rocket.

That will be followed by a Static Shock ongoing from Hudlin/Cowan and artist Kyle Baker, focusing on a rebooted 14-year-old Virgil Hawkins - described as “a kid with a love of comics and science who develops dazzling, electric superpowers.”

“What I will say about the first Static arc is that I’m from St. Louis,” said Hudlin. “You know what’s in St. Louis? Ferguson. That’s all I’ll say about that.”

Two miniseries were also announced - Love Army by Hudlin and Duo by Greg Pak, but no interior artists were named.

Duo is described as “the twisted story of a couple sharing one body for eternity.” Pak says it’s an update of the original Milestone title Xombi.

Love Army is about “a secret army of women with amazing abilities and super-strength, sworn to protect the planet..”

A fifth title, Earth M, will be an anthology written at first by Hudlin an then seguing to Alice Randall. Cowan will be illustrating that with Bill Sienkiewicz. It is about “a mysterious new vigilante character” (seen at left).

“We know fans have been waiting for the return of Milestone Media and we’re excited to collaborate with Reggie and Denys to build this new Earth M universe,” said Lee. “This world will reintroduce iconic characters fans know and love - along with new, bold, original concepts - creating a new platform dedicated to inclusion and great storytelling.”

What Every happened to Jason Todd?

I realized the other day that Jason Todd has an odd early history that newer fans that met him after his 1988 death might not know, or really understand. So buckle up kids! it’s time for Comics history

the year is 1980 and what’s about to happen is all George Pérez and Marv Wolfman’s fault. Most things in the 1980s are Perez and Wolfman’s fault come to think of that, more later. You see back between 1966 and 1978 the Teen Titans had been a moderately successful book. However in 1980 DC relaunched them with a new book and a new line up and Perez on art and Wolfman on writing 

I don’t think I can over state how big of a deal this turned out to be. The New Teen Titans might still be the best selling comic book DC has ever had. the Titans were wildly popular and drawing in a new readership of late teens, 20somethings and even a few adults and as it turns out those people have a lot more money then children. However DC had a problem, the leader of it’s flag ship team, Dick Grayson, was a side kick. Technically so was Kid Flash and kinda also Wonder Girl (who is complicated) but neither was as big a part of their hero’s comic as Robin. So around 1983, 3 years into the New Teen Titans mega run the idea of replacing Dick with a new Robin was born. 

Yes that’s right that little ginger boy in pink is Jason, the very first time he shows up in comics. You see DC was so nervous about replacing a beloved character (remember in 1983 there had only ever been one Robin for over 40 years) that they gave Jason the exact same back story as Dick. Dick’s mother and father were the Flying Graysons, Jason’s family the Flying Todds, and you guessed it, Jason’s Parents get murdered

and he gets adopted by Bruce 

for reasons I don’t really understand (mostly having to do with tricking people into think Jason was Dick) they dyed his hair black and Dick turned over the old Robin suit and name to the kid. The next few years aren’t great as Jason lacks a clear personality, and was drawn basically just the same as Dick. but in 1986 Mike Barr, Alan Davis, and Paul Neary took over at Detective Comics, while their run is short, it also is where the iconic Jason of the 1980s comes from

the art style made Jason clearly distinct from Dick by making him very small and skinny, giving him big eyes, while Barr’s writing played up the small adorable bean. 

Special mention should go to Doug McEnch’s earlier writing for opening the way for a small and adorable Jason

Any ways remember how I said everything is Perez and Wolfman’s fault? well here we go. Having gotten sky high sales out of their wonder boys DC asked them what they wanted. The answer? to remake the world. I won’t go into it but by the middle 1980s DC’s continuity was a bit of a mess and it fell to Perez and Wolfman to fix it. 

This was Crisis on Infinite Earths, which if you haven’t read, you should. Any ways the blew up all DC reality and started over again. So when reworking orgin stories the higher ups were a little embarrassed the Jason Todd and Dick Grayson have the same one, and they’d largely stopped talking about Jason as a circus boy any ways so in 1987 the new origin of Jason Todd was born

This version of Jason was slightly more scrappy than before, but this has been greatly overstated:

Sadly for Jason as always in the 1980s he was a victim of forces outside his control. Two major Batman works came out around this time. 1986′s The Dark Knight Returns and 1987′s Batman Year One both by Frank Miller

Both are grim and gritty takes on Batman when that was a pretty new idea. Year One is more important since it is a retelling of Batman’s first year, a dark grim hardcore story line that had no Robin. Batman was drawing in new “serious” and adult fans while fans that came in as teens in the 1980s during the vampire years (no really it was a thing) were adulating. And a large number did not like Robin, some people didn’t like that he wasn’t Dick Grayson the Robin they grew up with. Some people didn’t like that he was drawn as a cute small bean, and some people just hated Robin and longed for a mythical past when Batman was hardcore and didn’t have a Robin. Writers struggled to fit Jason into this new and darker world resulting in

The famous comic where in Jason maybe throws a spousal abuser off a balcony. This pleased basically no one, Jason’s fans were horrified by this shift from up beat punning happy Robin to angry and violent, a lot of fans were turned off by this maybe breaking of the No Kill rule, and those who didn’t like him saw him throughout this story line as whiny and rebellious against Batman. The stage was set for

DC decided in 1988 to let fans decide if Jason lived or died, in any case they planed to retire him any ways. The facts around the phone line are disputed, it seems pretty clear DC never expected him to die. A few factors worked against him, the big one being it was 50 cents a call, that’s about a buck today but for teenagers without credit cards there was really no way to vote. There’s long been a rumor that one guy set up a machine to dial in to the kill number once every 90 seconds for 8 hours. Though this story has never been confirmed. Any ways at the end of the day over 10,000 people voted, 5,271 to live and 5,343 to die. 

Hope that was informative 

To answer this I needed to put this together. Thank you for your attempt to try to explain away Superman Rebirth/Reborn. No disrespect to you but I find myself not really prepared to swallow something so convoluted if this is what DC needed to do to pimp one couple over all others.

IMO this is actually a high handed attempt by DC to relaunch AGAIN to compete with Marvel to get #1s in and scrape back some market share. They could not reboot so soon but hey why not backpedal?

DC rebooted in 2011. They advertised it to everyone as a new verse.  A whole new continuity. Old canon having had their time had said their goodbyes. As they should. They had 25 plus years after all. Doesn’t a new generation deserve a Superman or Wonder Woman to grow with? You would think, right?

They rebooted and got good talent. They tooted their horn. They got market share. They got new readers. Then by the time DCYOU hit, they begun to mismanage their line and fell behind Marvel. Then they suddenly pretended …they never meant to reboot…it w as just a scheme of the Watchmen or as you conjecture perhaps Superboy Prime…and an excuse to drag back in pre new 52 to appease the loud hating fans who wanted everything to stay the same. Fans who hated on the new 52 Superman from day one. Fans who refused to buy comics I might add.

And then it seemed pre ne 52 Superman was back. He and Lois and son survived their world dying and came to live on new 52 earth as “refugees”. A guy, if you liked and cared for HIM, had HIS own origins. And they were very different to new 52. It is no biggie to have 2 Supermen in one verse. It happened before with the KC one in the JSA. But he played happy family for 10 years. Never stepped up. They killed new 52 and made his friends and lover mourn him. Then made older guy take his place. Then they made the son meet Damien and blah blah.  

Then we had a full 180. Suddenly they the same man! They were split! The power of Love reunited them. And new 52 haters rejoiced because the guy they hated for his youth, his idealism, his pro activeness,his suit, his powerful girlfriend, they loved. Cuz you know, nothing defines a man than who he bangs. Or the one human he bangs.

Five effing years of fans lives wasted on comics that were a LIE. Comics that deceived us into thinking it was a new verse. Only to have them come in 1 fell swoop to pimp how important one couple is to the universe and  how real their love is never mind they had no reason for us to give a damn when they were younger in the new 52. I’d faster believe he’d love new 52 Lana than new 52 Lois. She never deserved new 52 Superman’s love. Unless love is pining to be noticed by a woman who was blind to you and throwing the woman  who loved you for you and put her life on the line for you many times under the bus. The reality is, it was 5 years of Diana we had in the narrative. Five years of lies if one is to swallow the bull from Dan Jurgens and Greg Rucka, propped by master mind Geoff Johns.  DC must think we are assholes, I guess. 

If Lois and Clark are so great and such true love why did they deceive so many readers? Why the convoluted bull that changes like the wind and ultimately doesn’t amount to squat nor matter because once they forcibly merged them…everything from Convergence to last month never happened.  You’re not getting pre new 52 Superman back but a getting a whole new origin and events plucked from the past to suit Jurgens. Notice his 90ties stuff will be there, other peoples dumped. He hated the new 52 but will poach from it. Superman will be a great old mish mash. Superboy Prime? Dr Manhattan? Really, Johns?  Only a lazy writer could try to dilute a great story  like Watchmen or try to pretend this as what he planned all along.

Where are the stakes in these stories if nothing was real? Where is the consequence? Unless one is  a blind rabid clois shipper this is plot is full of holes. Holes they can’t cover so they wave their wands to make it all go poof. Events should matter. The journey should be the most important part of the destination. Not you jump from A to Z with no rhyme or reason other than to sound self important. 

The explanation is so confusing and so overly messed up and it’s goal was to elevate Lois and Clark? Like really? Without compromise? So no matter who, when,   what and how ? DC has to lump these 2 together and if you don’t buy it or care…then you’re a fake fan, I guess? I mean Jurgens did say so.

Sorry, I can’t begin to even say how stupid this whole thing is.

Good story telling is fairly simple. It’s about consistency, a good plot, good development and a meaningful payoff. Not jumping the shark to pander to one fandom.

Lois and Clark is not love triumphing. It’s about trying to dictate to fans what they should believe. It is about manipulating a story so badly they are willing to dump on good origins and history. It all feels very self masturbatory. 

Love. It’s a word that is often bandied about. But it means different things to people. 

Let me say, in many books I read Diana and Clark, be they friends or lovers their love has been a love that never preened nor pimped itself. It was always selfless and sacrificing and mostly they stayed true to themselves. It was never about his or her comfort. They never stood by and allowed shit to happen to other people because they saw themselves as some superior symbol that defines the universe. They did their duty by each other and the earth.

And before people try to say Injustice. That guy’s love for his  wife was so dependent it is unhealthy. If you love someone, they should make you a better man.No matter what. A testament to their love is you being the best you can be especially in the face of adversity and loss. Superman is not the only man that loses a family in the DCU. Martian Manhunter and his cousin Kara lost more and they don’t become tyrants. So did being with Lois really help him? Don’t dump his douchebag behavior on the woman. Tom Taylor tries to do that just to pimp clois again. So lazy. 

Superman has tried to change the course of the earth/time to bring Lois back never caring about the consequence to history, people etc. He was willing to give it all up to have sex with her. Reeve movies.

He was willing to muscle in on a good decent man who was a father to his child. Superman Returns.

He drops everything to save Lois, a woman he knows all of 2 yrs but can’t save his own mother.Leaves Wonder Woman in the lurch in a deadly battle to go save Lois. Kills a man for her in Africa and Lois found it quite cute. Fact Jimmy Olsen getting shot in the face seemed to be like an aphrodisiac  

He was willing to kill for Lois if anyone harms her but Diana? Willing to condemn and judge her for Max Lord because she tried to save him and Lois and everyone’s life from him!

He stands by and allows the shit to hit the fan just to play happy family. He’s not unhappy , disillusioned, or angry. He just has to be told the obvious to step up and be a hero.

Now they not only kill one but 2 timelines so they could pet themselves on the back on how great they are. 

My definition of love must surely be different. 

Clois can keep their love. I don’t grudge them a place in the multiverse. Reality is they have many places. Clark and Diana only had one in canon, now they can’t even have that. It was stolen. If clois has to be a law in the multiverse then I am glad to be illegal. Love is not what you say but what you do. Clark and Diana embodied this. No imp acting the writers’ mouthpiece is going to dictate to me.

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I’m not sure. But I really want a new BMW.

Chris Genovese’s ninja training from Hit-Girl #04 (Icon Comics)
by Mark Millar, John Romita Jr., tompalmerillustration and deanwhitecolor

DC june's mini relaunch (complete list)

As part of their relaunch DC is cancelling Earth 2, Justice League Dark, Justice League 3000, Supergirl, Batman And Robin, Red Hood And The Outlaws, Green Lantern, Green Lantern Corps, Star Spangled War Stories, Infinity Man And The Forever People, Secret Origins, Red Lanterns, Swamp Thing, Aquaman And The Others, Klarion, Trinity Of Sin, Batwoman, World’s Finest and Arkham Manor

They will launch 24 new titles: Red Hood/Arsenal, Doomed, Starfire, Black Canary, Bat-mite, Cyborg, Prez, We are Robin, Batman Beyond, Constantine: The Hellblazer, Justice League of America, Harley Quinn/Power Girl, Dr Fate, Robin - Son Of Batman, Justice League 3001, Earth 2 Society, Midnighter, Green Lantern Lost Army, Omega Men, Martian Manhunter, Dark Universe, Bizarro, Mystic U and Section Eight

Looks like Convergence is really gonna shake things up

anonymous asked:

Can you explain what's wrong with the N52 because everyone keeps saying that and I don't know why. Will you start reading after Convergence which "ends" the new 52?

The New 52 is not ending after Convergence.

This is a common misconception that is very likely intentional on DC’s part.  Whenever DC announces that one thing is “ending” and another is “beginning,” it drives up their sales temporarily.  DC is hurting right now, since the New 52 isn’t selling very well, so in order to market themselves they are making a big thing about the New 52 “ending.”  

This means absolutely nothing. There will be no change to the continuity of the New 52, the only thing that will be changed will be the names of the titles being published.

So no, I will not be reading new DC titles post convergence, so long as they still follow the post-flashpoint timeline.

As to your other question, there are a lot of things people dislike about the New 52, and it’s not all comics related.  DC as a company has also been making a collection of bad decisions, from proclaiming that Batwoman is not allowed to get married to her same-sex lover (resulting in the writers for the title quitting), to firing the majority of their female creative staff (at the relaunch the number went from 12% female staff to 1% female staff).  Dan Didio, co-publisher at DC, has been under a lot of heat in the past few years for completely ignoring the voices of fans.  Seriously, try listening to an interview with him sometime, he’s very condescending and his attitude is that if the fans don’t like the decisions he’s made, its because they’re wrong.

However, comics specifically, one of the main issues has to do with the lack of continuity.  When DC relaunched the New 52, they never specified to their own writers what aspects of the old continuity were in play and what aspects arent.  This resulted in writers either

  1. contradicting each other constantly
  2. being too afraid to write about characters past experiences, or their relationships with pre-existing characters, because no one had a clue who existed and who didn’t, what happened and where, etc.

It was just a giant mess, and today it is still a giant mess.  One comic says that Tim Drake’s Teen Titans were the first Titans (thereby erasing the continuity for all the previous titan groups), but then another comic references the time Dick, Kory, and Roy spent in the Titans, then ANOTHER comic refutes this by claiming Dick wasn’t Robin long enough to ever be with the Titans.  It’s a god damn mess.

DCs response to this?  Fans shouldn’t care about continuity!  What’s important isn’t that it makes sense as a full, comprehensive story, whats important is that each individual comic is good!

This mindset plays 100% into the kind of consumer DC is marketing to right now, which leads me into my second issue with New 52 comics: the stories aren’t compelling.

DC is not marketing their comics to “long-term” fans.  They are marketing to the “short-term” fan.  These are fans who are not particularly invested in comics for the long run.  Many of them are fans via the recent rise in comic book movies (nothing wrong with that), and are more interested in only buying a single arc of comic book issues (such as Injustice, or Convergence).  It may be the case that these short-term fans will become long-term fans, but for the most part that won’t happen.

The short-term fan market is much larger than the long-term fan market, because it typically encompasses most long-term fans as well.  This means that every time DC starts a new major event, there’s a boost in their sales.  You can check these boosts out for yourself at comichron.com, which chronicles the sales figures of almost every major comic released.  

Now, the problem with the short-term fan is that once the initial “hype” of something new is over, they tend to drop out of the market, and they aren’t interested in compelling stories that play on decades of beloved character history.  The majority of, for example, Chuck Dixon’s Nightwing Vol2 (1996-2002), would not be considered “exciting” enough to warrant attention from the short-term fan, despite being one of the highest rated Nightwing volumes.  The short-term fan is typically drawn in by: major character deaths, major plot arcs, and AUs that are usually based in dystopian worlds (Injustice, Futures End, Zombies).

There’s nothing wrong with these kinds of story arcs, or the fact that short-term fans like them.  The issue is that DC realized that they could make more money by marketing primarily to these fans rather than to the long-term fans that comics have always marketed to.  This means that the majority of the stories we get in the New 52 are nothing more than short-term cash cows.  It’s one violent, dark, death-filled arc after another, with DC making very little attempt to tell a story that makes readers want to stick around past the current arc.  But then as soon as that arc ends,  here comes another shocking and horrific, violent plot that pulls the short-term fans back for another 4+ issues. Yeeeeey.

If DC were to suddenly go back to creating quality content, stories about heroes that will be remembered as pivotal and as having an impact on the entire comic book industry as a whole, versus stories that may evoke shock or emotion when you read them now, but won’t be remembered ten or twenty years in the future, they would lose a good chunk of the short-term fans who are buying their comics right now because of the shock value they provide. But what DC fails to understand is that they are also alienating their long term fans.  They’ve lost the business of tons of fans, some of whom have been loyal buyers of DC comics for decades.  And they don’t care.  The very fact that they’ve eliminated your ability, as a consumer, to share your thoughts about their product with them, tells us that they don’t care.

The last time something happened in a Marvel comic that upset me, I was able to email Marvel Comics, discuss why the situation in particular bothered me, and I got a response.

When a fan called Dan Didio out on DC still not having anywhere near the number of female creators years after the launch of the New 52, he basically told the fan, “You try doing my job, you can’t so don’t complain.”

Two different ways of looking at the customers.  Sorry, Marvel’s doing a better job.

So that, anon, is why I dislike the New 52, in a nutshell. I honestly don’t foresee any major changes happening so long as the current administration is pulling the strings.  Eventually things will change, people will leave the company, power relations will shift, new blood will be introduced.  

Whatever ends up happening, I do trust that someday DC will get back onto the right track, the question is how much are they going to screw up before they’re stopped?  Dan Didio said he saw Future’s End as the “definitive” direction of the DCU, bold statements and choices like this will have an effect on the kind of content that can be produced even after he no longer has his fingers in everyone’s creative pies.