Last week there was a rumor going around that DC might pull the plug on its new 'DCYou' initiative before it had even had a chance to take root. DCYou aims to provide more diversity in content, characters, and creators, in an effort to reach new readers in a shifting market. The initiative stands in sharp contrast with the homogeneity of DC's last major relaunch, the traditional and conservative New 52, targeted squarely at long-time readers.
Of course, the New 52 performed very well for the publisher, and in some months it even pushed DC ahead of industry leader Marvel. The relaunch never achieved its major objective of permanently toppling Marvel, but it did provide strong numbers in direct market comic store sales. Compare those numbers to the sales for DCYou, and one can see a clear argument for going back to the old model. But that argument is grounded in a narrow understanding of the industry.
Nearly 30 years after the release of The Dark Knight Returns, and almost 15 after The Dark Knight Strikes Again, Frank Miller is coming back to DC comics for a third installment in his series of stories about an older Batman in a world of corruption. It will be out this fall.
Let's generously say that the title is...interesting: The Dark Knight III: The Master Race. Miller is set to co-write the eight-issue series with Brian Azzarello, who wrote a somewhat controversial Batman story of his own, "Broken City," back in 2004. According to DC's blog, an artist has yet to be named. (Which seems to mean Miller won't be drawing it.)
Convergence is drawing ever closer; a massive not-quite-in-continuity crossover event that replaces all of DC's monthly titles for two months this spring, to throw together interpretations of characters from throughout DC history on an isolated world where they will end up fighting a lot. The event is comprised of a weekly miniseries by writer Jeff King and artists Carlo Pagulayan and Jason Paz that delivers the central overarching plot line, and a number of character-focused two-issue miniseries that will expand on the themes of the weekly series, provide additional context, and revive fan-favorite versions of many classic DC heroes and villains.
It's a huge, massively ambitious undertaking, so we spoke to DC co-publisher Dan DiDio to get a better idea about the publisher's plans, the company's overall goals for the event, and the impact it will have on the DC universe in the future.
If you're one of the unlucky millions who can't be in the giant steaming San Diego convention hangar this weekend, you probably won't get a chance to get up close and personal with the glass cabinet containing a bit of Ben Affleck's costume from next summer's Batman V Superman: Dawn Of Justice. Sucks to be you! No proximity to Afflatex for you!
The small DC nation state on the con floor is showcasing a lot of Batmemorabilia to mark the Caped Crusader's 75th anniversary -- including the new movie Batman's actual crusading cape and crime-detecting cowl from Zack Snyder's sure-to-be poignant summer batbuster.
A letter from DC Comics Co-Publishers Dan DiDio and Jim Lee to the company's freelancers has outlined a new payment policy that offers royalties to the creators of digital-first comics and colorists (previously, payments just a flat rate), and changes the structure of how all creators are paid. The new plan, which will supplant a policy that has been in place for more than 30 years, goes into effect July 1 and is a direct response to a recent survey DC took of its talent pool.
Specifically, payments (DC doesn't use the term "royalties" because that implies ownership) will soon be based on net revenue -- how much money a book makes after costs -- rather than on the cover price. That gives DC "more flexibility to sell our material in new distribution channels that have different pricing models," according to the letter obtained by ComicsAlliance. That seems to point to digital comics and possible experimentation with pricing there.
So is this a positive or a negative for creators? That's a little harder to suss out.
Each week, ComicsAlliance’s Chris Sims and Matt Wilson host the War Rocket Ajax podcast, their online audio venue for interviews with comics creators, reviews of the books of the week, and whatever else they want to talk about. ComicsAlliance is offering clips of the comics-specific segments of the show several days before the full podcast goes up at WarRocketAjax.com on Mondays.
This week, Chris and Matt dig deep into talking about DC Comics Co-Publisher Dan DiDio as a businessman and as a comics creator in their discussion of his new series with Keith Giffen, Infinity Man and the Forever People. Then they pivot to talk about two great starting-point issues in the middle of series runs: Kurt Busiek and Brent Anderson's Astro City #13, and Ian Flynn and Jamal Peppers' Mega Man #37.
Put as succinctly as possible, the Forever People are a bunch of space hippies with individual powers and gimmicks, but when they're in trouble they can combine to form the Infinity Man, who is a gestalt organism. First introduced in 1971, they are part of Jack Kirby's expansive Fourth World tapestry of "New Gods" characters and comics, and the focus of a new collaboration between storyteller Keith Giffen and co-writer Dan DiDio, creators of the New 52's last major Kirby revival, the short-lived OMAC.
Welcome back to the ComicsAlliance podcast, covering the latest comic book entertainment news topics. Joining Senior Editors Andy Khouri and Caleb Goellner for this episode is CA writer Matt D. Wilson for a conversations about the the keynote address delivered by Image Comics Publisher Eric Stephenson to the ComicsPro Retailer Conference in Atlanta. Stephenson made a characteristically iconoclastic and not altogether unassailable presentation, urging retailers to become community leaders, abandon their support of gimmicky, high-priced publishing practices, and draw a distinction between good and bad comics.
We’ll contrast Stephenson’s remarks with those of Dan DiDio, his counterpart at DC Comics, one of the stop superhero publishers, who in an interview this week confirmed plans to double— even triple-down — on weekly comics, crossovers and 3D covers, publishing strategies that are seemingly exactly the sort of thing Stephenson that criticized.
An email from DC publicity states that the 3D covers will again hit stores in September, this time tying into a Futures End-related event that will tell stories set in a possible future, five years ahead of the current timeline (like "One Year Later" did concurrently alongside the weekly 52 event series a few years back... x5). Newsarama reports that the new weekly series will kick off in October.
Thumb through DC Comics' new releases this week and you'll find the above image -- a teaser for the upcoming Batman: Eternal weekly series -- in the back pages of a good many of them (all the books I saw, in fact).
I had to look up the artist who drew it. It's Detective Comics artist Jason Fabok, but it could just as easily be Tony Daniel, David Finch, Guillem March, Ivan Reis, Adrian Syaf, or a handful of other current DC artists. Like it or not, this is, with a few exceptions, just how DC Comics look now.
It appears that you already have an account created within our VIP network of sites on .
To keep your personal information safe, we need to verify that it's really you.
To activate your account, please confirm your password.
When you have confirmed your password, you will be able to log in through Facebook on both sites.
It appears that you already have an account on this site associated with . To connect your existing account just click on the account activation button below. You will maintain your existing VIP profile. After you do this, you will be able to always log in to http://comicsalliance.com using your original account information.