We've already rounded up the best events for Thursday, Friday, Saturday and Sunday, and we've highlighted some of the best exclusive art prints to pick up, but there's so much more at SDCC. As the biggest convention of the year, it's a great way to interact with creators and this year's event has an amazing line-up of spotlight panels on some of the best writers and artists in the business.
DC’s mature readers imprint Vertigo has had a rough few years; where once it was the benchmark of challenging and thought-provoking creator-owned comics, many of its classic titles have wrapped up their runs, and Vertigo has struggled to find new epics to replace them.
In what DC describes as an effort to "set the business up for future success," the publisher has announced a restructuring of the imprint that includes the elimination of its executive editor role. Unfortunately that means letting go of veteran editor Shelly Bond, who has been with Vertigo since almost the very beginning.
A line-wide relaunch provides a great opportunity for a publisher to take a look at the visuals of their books, specifically costumes and decide what needs tweaking, changing and updating. We’ve already seen new looks for Batman, Deathstroke and Birds of Prey but today artist Tom Derenick posted on his Facebook page a detailed design sheet for the new look Superman post-Rebirth and in true ComicsAlliance tradition, we’re going to pick apart and analyze it see what works and what doesn’t.
This week’s Harley Quinn & The Suicide Squad April Fools' Special #1 by Rob Williams, Jim Lee and Sean “Cheeks” Galloway was a fun, cameo-laden romp that saw Harley return to her roots as a psychiatrist for the criminally insane and try to cure the likes of Man-Bat, Killer Moth and Scarecrow. However, the one-shot also served as a jumping off point for one of the biggest books of DC Rebirth with a surprise cliffhanger that saw a classic DC character looking a lot more like their Pre-Flashpoint self.
The issue is drawn mostly by Jim Lee, but during the psychiatry segments the art duties are handed over to Sean Galloway whose trademark cartoon style is a stark-contrast to the cross-hatching and gritted teeth of Lee, but it works surprisingly well. Over the course of the issue, Harley ends up in a fight with the Justice League, in a sequence drawn by Lee, and comes to the conclusion that the superheroes are the real bad guys, and that’s when the reveal kicks in.
DC Comics hosted a special livestream event at WonderCon in Los Angeles on Saturday afternoon to unveil the creative teams behind its DC Rebirth event, which relaunches the entire DC Universe line with new issue #1s and multiple double-shipping titles. The relaunch will set the future course of DC Comics at a time when fans are wondering whether the company will embrace a new and diversifying audience or double down on serving a shrinking core audience.
The event was introduced by DC All Access host Tiffany Smith, with DC co-publishers Jim Lee and Dan DiDio and chief creative officer and Rebirth chief architect Geoff Johns introducing and interviewing the creative teams as they joined them on stage at the Los Angeles Convention Center.
DC Entertainment has announced a new talent initiative for budding comic creators; exclusive workshops for both writers and artists, curated by some of the best in the field. The Talent Development Workshops are set to take place later this year, and a select number of successful participants will get the opportunity to visit DC’s offices in Burbank for a more intensive, hands-on experience alongside DC staff.
DC Comics’ upcoming Hanna-Barbera line of comics is one of the boldest decisions Warner Bros has made with those properties in a long time, and DC seem committed to treating the individual series as just as important as its main line of superhero books. With veteran creators like Keith Giffen on the books, DC is throwing its full weight behind the new line, and has unveiled new variant covers for Scooby Apocalypse and Future Quest by superstar artists like Steve Rude, Neal Adams and Bill Sienkiewicz.
At the dawn of 1992, comic books were booming. Tim Burton's Batman had kicked off a new wave of big-budget film adaptations. Superhero products could be found in nearly every aisle of every department store and supermarket. New comic shops were springing up in shopping centers and malls, publishers were seeing their highest sales figures in years, and new companies were making names for themselves as serious players. And Marvel Comics was the unquestioned big fish in the pool, with their stock booming in the six short months since they'd gone public, and an unparalleled creative stable.
But big changes were afoot. In December of 1991, Todd McFarlane, Rob Liefeld, and Jim Lee, Marvel's three biggest artists, informed publisher Terry Stewart that the company's policies toward talent were unfair, that creators were not being appropriately rewarded for their work, and that they were leaving, effective immediately. In the month thereafter, they joined forces with a few more like-minded artists from Marvel's top-selling titles, worked out a deal with small publisher Malibu Comics for production and distribution, and decided on the title for their new company --- recycling a name that Liefeld had originally intended for an aborted self-publishing venture. On February 1st, 1992, a press release was sent out announcing the formation of Image Comics.
Listen, I gotta tell you about this dream I had last night. It was so weird 00- DC comics had launched a line of comics based on Hanna-Barbera cartoons, but they were doing these completely bonkers takes on all of them. Like, Scooby-Doo was set in the apocalypse and Scooby had a techno-monocle that allowed him to communicate through emojis, and Wacky Races was mashed up with Mad Max: Fury Road, and they even got one of the designers from the movie for it, and there was a big crossover with Space Ghost and Jonny Quest. And the weirdest thing of all was that the Flintstones were just the Flintstones, but drawn by Amanda Conner. Bizarre, right?
Wait a second... I'm just catching up on the news, and --- holy cats. It wasn't a dream. DC Comics is actually doing a Hanna-Barbera line with post-apocalyptic Wacky Races and emoji-monocle Scooby-Doo. This is actually happening.
The second issue of the still mindblowingly titled Dark Knight III: The Master Race arrives in comic book stores on Wednesday, December 23rd, and DC Comics has just revealed five limited variant covers by Cliff Chiang, Klaus Janson, Eduardo Risso, Jim Lee, and Frank Miller himself.
Unsurprisingly, all five of the cover artists are male, but at least three of them are people of color. I don't know that that mitigates the stigma of the series title, but hey, it's something.