The biggest news in comics this week is, of course, the announcement that DC Comics, the venerable publisher of Superman and Batman and Wonder Woman, will re-start its entire line of books in what amounts to a gigantic do-over. There are comics readers who are understandably skeptical. DC — and the other big publisher, Marvel, now owned by Disney — have a history of doing this every couple of years or so. “Everything you know will change!” is comics-speak for “Yeah, we might put some new costumes on some people.” DC has rebooted its entire universe four times since 1986. This count does not include lots of little revisions and retcons, like the whole sordid history of Hawkman, whose backstory is far more complicated than you’d think for a character who is basically just a big guy with wings.
The news has thrown a lot of Underoos into a bunch. Comics fans — myself included — tend to take this sort of thing seriously. If someone points out, reasonably, that these are all imaginary stories and it’s sort of ludicrous to talk about which ones “count” and which ones do not — well, that person had better not walk around the darker parts of Comic-Con without a bodyguard.
Continuity is not only the structure that supports the suspension of disbelief. It’s also the payoff longtime fans get for investing time and money in years of stories. This is just as true with serialized TV or movies or books as it is with comics. Mess with the continuity, or discard it completely, and you are effectively telling those longtime fans: “Wow, did you waste your life.”1
Of course, there’s a counter-argument. Many fans say that DC’s comics have an insurmountable barrier to entry: decades of stories and details that have to be learned to get through a single issue of Superman. For instance, who exactly is General Zod? Which General Zod do you mean? What’s the deal with Power Girl? Where’s Earth 2? Why is there more than one Earth? Why are there so many Flashes? Didn’t Superman die? And so on.
I’m sympathetic to the urge to wipe the slate clean and start over. Really. But I don’t think it’s going to make anything better until the writing gets better. The biggest ideas in Superman’s books in the past couple of years have been 1) remove him from the books entirely and 2) have him take a nice, long walk.2
It’s possible to write great superhero stories without the history serving as clutter and distraction.3 However, I tend to think a good writer — like, say, Grant Morrison — can take all that history and make it entertaining rather than distracting.4
You can start over with brand-new characters and a clean slate, but it doesn’t guarantee success. One day after DC’s big news, Valiant Comics announced it will return to publishing. Valiant was an early 90s success story. It took forgotten heroes from the past — Doctor Solar and Magnus, Robot Fighter5 — and turned them into million-selling franchises. Sure, part of that was due to the speculator boom at the time — people who believed a foil-covered variant first edition of Solar was going to be worth as much as Action Comics #1. But it also brought in readers looking for something new. It worked.
Unfortunately, it only took a little while to fall apart with its own reboots, continuity mishaps, and corporate struggles.6 Now Valiant is left with titles no one has ever heard of, despite its boast of “some of the most recognizable characters in the comic world.”7 Maybe people will line up to see a movie about X-O Manowar, but not because of name recognition.8
An excessive devotion to continuity is not the industry’s real problem. This is where the real news in DC’s announcement comes in. The company also said it will begin selling the digital versions of its comics on the same day as the print editions. Basically, DC is admitting that comics’ distribution model is broken.
This is more than saying that “print is dead” or that iPads are the future of publishing. Comics have seen their circulation go from millions of copies a month to a couple hundred thousand, tops. Prices have gone up, the content has become increasingly specialized for an audience of aging fanboys9 and the number of readers keeps dropping. Groceries and convenience stores have been more or less abandoned by comics publishers as retail outlets in favor of specialized comic book shops. Forget 76 years of history: the real barrier to entry for new fans has been just been finding comics.10
I’m not sure the solution to that is requiring people to own a $500 iPad before they can read the latest adventure of the Justice League.
The thing is, the audience is there. People want to read stories of ass-kicking, super-heroic, larger-than-life adventure. There are more people than ever ready to accept the idea of men and women in spandex saving the world. Look at the top-grossing movies of the last ten years if you doubt it. There is a chance to bring them into this world and make them fans for life.
I really hope that this works for DC . I hope the company has something more planned than just Superman not wearing his briefs on the outside of his pants because I love comics. And without new kids climbing on board, year after year, comics will never have a billion-dollar phenomena like Superman or Batman again.11 The industry hasn’t produced a new superhero with mass-market appeal since… well, Spawn. That alone should tell you how badly it needs to bring in new ideas and new readers.
Comics cannot survive on nostalgia forever. Sooner or later, someone’s going to have to invent something again.
1Admittedly, there are people who would say that anyway.
2Given the legal wrangling over the ownership of Superman, it almost seems possible that these were deliberate moves to devalue the property before ownership changed hands — like ripping out the copper plumbing of a foreclosed home. But that’s too much of a conspiracy theory even for me.
3Check out Mark Waid’s Irredeemable, where he gets to play with the idea of a Superman who goes mad and starts wiping out cities.
4In Morrison’s hands, Batman is both a dark, grim avenger in the night and a guy who hangs out with Superman while occasionally fighting saucer-people.
5These relatively obscure super-heroes from Gold Key/Dell actually had a bigger fanbase than they’re given credit for, since they were introduced at the time when comics were still selling hundreds of thousands of copies.
6You could probably say the same thing about Eclipse or Image or any number of the indie comics publishers that boomed and busted at the time.
8That said, I would totally love to see Eternal Warrior come back.
9Yes, that includes me.
10A couple years ago, I saw a kid in my local comics shop with his father. He kept saying, “Daaaaaad. I’m booooooooored. Can we go now?” Publishers have made an effort since then to reach out to kids again with Free Comic Book Day and kid-friendly titles. But the majority of sales still come from old geeks.
11Or even Wolverine for that matter.
All right, let’s see what the Internet is hurling at my skull today…
*Superman refuses to fly; starts walking instead. No, seriously. Lex Luthor is now the hero of Action Comics. And Lex is apparently shacking up with Lois Lane. Cripes, now there’s a metaphor begging for a national audience…
Publishing a PDF of somebody else’s work is the exact opposite of fair use: these sites engaged in a replication of a static electronic document with no links to the publication that took the risk, commissioned the work and came up with a story that tilted the national conversation. The technical, legal term for what they did is, um, stealing.
Seriously, Tim Kring though[t] Jeph Loeb wasn’t good enough to work on Heroes. Yeah, that’s a guy I want in charge of all my TV entertainment.
*On the other hand, if Loeb can equal the high insanity of Marvel’s 1970s TV shows, I for one will applaud:
*Texas Republicans are firmly against strip clubs, blowjobs, the UN and the Supreme Court. Funny, I know some Texas Republicans. I never thought they were anti-blowjob. And I know they are pro-strip club.
*My friend William Heisel continues to dissect the state of Illinois’ terminally inept system for informing the public of complaints against doctors.
(Post title quote from Mark Waid’s Twitter feed.)
Christopher Nolan gives a look at his plans for the reinvention of Superman, as well as what’s coming up in the third Batman film, in this great piece by Geoff Boucher at Hero Complex.
Now the waiting is finally over, and DC Comics has announced not one but two publishers: current Executive Editor Dan DiDio and Editorial Director and artist Jim Lee. But that’s not all: Superstar writer Geoff Johns has been named Chief Creative Officer.
I said a few months ago that the creation of DC Entertainment was nothing but bad news for Dan DiDio. Turns out, not so much. True, he wasn’t made sole publisher — he has to share the title with Jim Lee, one of the original Image founders who sold his Wildstorm imprint to DC. But he was promoted, and Geoff Johns — the writer behind Blackest Night, the Green Lantern crossover where dead super-heroes munch on the hearts and souls of the living — was made the chief creative officer.
I love DC. I really do. I’d like to see the company thrive. But I don’t see how this is going to increase the number of DC titles in my shopping bag every week.
But fair is fair. I was wrong, and I deserve a rendition of the “Wrong Song.”
Like this review says, I’d watch almost anything based on a comic book. At least the first half-hour. So it’s safe to say I’m pretty much the demo (Cripes, I almost wrote “target demo”) for Fox’s new show, “Human Target.”
The premise: a guy named Christopher Chance protects people in high-risk situations. And yeah, I really liked it. Mark Valley is nearly perfectly cast in a role that plays to his strengths (he looks like most guys think they look, which is to say ridiculously handsome, carries a no-bullshit impression of authenticity when it comes to guns and fights, and has great comic timing for the character’s wry asides). Chi McBride, despite his imposing physical presence, makes a great sidekick by displaying the concern and confusion that inevitably results when the sane have to work with the less-sane on a daily basis. And Jackie Earle Haley is both frightening and frightened, a darker reflection of Chance who doesn’t have his easy, physical confidence. (It will be interesting to see if the character’s insecurities overwhelm him and he ends up betraying Chance, or if the showrunners will simply put him in the back seat for the whole series.)
Plus, explosions and martial arts. What’s not to like?
For me, however, the really interesting part of the show was a character twist I didn’t expect. In what I laughingly call my showbiz career, I pitched the Human Target as a movie to a number of execs. Unsurprisingly, it didn’t go anywhere, mainly because I’m not McG, but also because I didn’t get the right take on the character. This version of Christopher Chance — call him Chance 4.0 — nails it, and in a way I really couldn’t see coming.
Chance 1.0, the original incarnation of the character as created by Len Wein was very much a product of the 70s. Dapper, cool, deadly and not terribly deep, his gimmick was his ability to disguise himself as his client, and then take out the bad guys when they tried to kill him. He owed more than a little to James Bond, and like Bond, placed his life in jeopardy to overcome a staggering sense of boredom.
Chance 2.0 was an attempt to revive the character in conjunction with a forgettable ABC TV series starring Rick Springfield. The less said about this, the better, but it’s interesting to note the comic was written by Mark Verheiden, who later went on to write for “Battlestar Galactica.”
Chance 3.0, however, went a lot deeper. Based physically on George Clooney in a pretty obvious play for the movie adaptation, this version of Chance sought the obliteration of his own identity when he put on the faces of his clients. He wanted to be someone else, and created his peculiar job to give himself the opportunity on a regular basis. The physical punishment Chance endured, both from the attempts on his life and the grueling plastic surgeries he underwent, also met some unstated need for penance. Written by Peter Milligan for DC’s Vertigo imprint, Chance 3.0 was the one who really fascinated me. He lasted through two miniseries and a short-lived ongoing series, but never found a larger audience, maybe because he was so kinked up.
Chance 4.0, however, doesn’t suffer any of the problems of the previous versions. This take on the character steps away from the “master of disguise” gimmick — something that I thought would have removed anything unique about Chance. After all, if he’s just a bodyguard with an exceptional range of knowledge, how’s that different than anybody else with a gun and an attitude on prime time? But the showrunners make it work by having Chance still disguise himself — just as someone in the background, a nobody, until it’s time for action. And it also neatly overcomes the problem I heard from almost every producer and development exec when I was pitching this: “No actor wants to hide his face.” Which is an excellent point. If you’ve got someone like Mark Valley, you don’t slather him in latex makeup for 45 minutes every show.
Chance 4.0 isn’t the cognac-swilling aesthete of the comics, either. For a man whose life is based on deception, he’s refreshingly blunt. He takes down an office gunman and then allows the man to trigger a suicide vest, mainly to see if he can get away unharmed. This isn’t a guy who worries much about his daily skin-care regimen.
But that’s where I found the twist. Chance doesn’t have a death wish. Really. He places himself in jeopardy not out of boredom, or a sense of penance, but to prove to himself that he deserves to live. Twice in the pilot, Chance says, “Nobody deserves to die.” His life is all about testing that premise. “The Human Target” is not about suicide. It’s about survival.
I’m going to keep watching to see if I’m right about this. I want to see where this character goes.
Of course, the explosions and martial arts don’t hurt, either.