Friday, July 31, 2015
...but you probably won't expect what happens next. From JUSTICE LEAGUE: GODS AND MONSTERS - SUPERMAN #1. by dccomics
Thursday, July 30, 2015
#TBT Here's to over a decade of Bigby Wolf and Fabletown! 🎉🎉 #TeamBigby #Fables150 #FablesFarewell by dccomics
Wednesday, July 29, 2015
It's a week with a lot of annuals as well as new issues of BATGIRL and SUPERMAN. What will you be reading? #newDCDay by dccomics
Gal Gadot as Diana Prince AKA Wonderwoman! #DCcomics #Wonderwoman #BatmanVSuperman #DawnOfJustice #BatmanVSupermanDawnOfJustice by dcentertainment
EMPIRE magazine 2nd cover, Bruce Wayne and Clark Kent. #DCcomics #Batman #BatmanVSuperman #DawnOfJustice #BatmanVSupermanDawnOfJustice #Superman by dcentertainment
Former "Sons of Anarchy" star Chris Browning will guest star as Ben Krull, a DC Comics supervillain who becomes Reactron when he dons his armored suit powered by nuclear energy, on the upcoming first season of CBS' "Supergirl."
According to The Hollywood Reporter, Browning's Ben Krull will first appear in the third episode of the season. In that episode, Reactron will head to National City after failed attempts to destroy Superman, in order to exact revenge on the Man of Steel by killing his cousin, Supergirl. Though intended as a guest star in his first appearance, he reportedly has "a strong potential" to recur later on.
The show centers on Kara Zor-El (Melissa Benoist), a Kryptonian stranded on Earth following the destruction of her home planet Krypton. Assuming the name Kara Danvers, she decides to come out of hiding at the age of 24 and really use her super abilities for good.
"Supergirl" arrives on CBS on October 26 at 8:30 p.m. EST. Developed by producers Greg Berlanti, Ali Adler and Andrew Kreisberg, the series stars Benoist, Chyler Leigh, David Harewood and Calista Flockhart.
A couple great DC Comics items in this month's @lootcrate, with both an exclusive Batman Q-Pop figure and a Wonder Woman Bombshells poster! by dccomics
Tuesday, July 28, 2015
"Constantine: The Hellblazer" launched in June as part of DC Comics' "DC You" initiative, and this August, the series is set to introduce a new character named Georgiana Snow, called "the Heckblazer" in solicitations and described in interviews as John Constantine's the opposite.
With the issue -- written by series regulars Ming Doyle and James Tynion IV and illustrated by Vanesa Del Rey -- set for release next month, CBR has the exclusive first look at the issue's variant cover, featuring the always-stylish work of artist Kevin Wada and starring Georgiana Snow.
Here's the solicitation text for the issue, along with a look at the previously released cover by Riley Rossmo:
CONSTANTINE: THE HELLBLAZER #3
Written by MING DOYLE and JAMES TYNION IV
Art by VANESA DEL REY
Cover by RILEY ROSSMO
1:25 Variant cover by KEVIN WADA
On sale AUGUST 12 • 32 pg, FC, $2.99 US • RATED T+
Retailers: This issue will ship with two covers. Please see the order form for more information.
Someone is murdering ghosts, a supernatural crime so impossible to solve that John Constantine is forced to return to London and seek help from the one person he hates more than any other; a magician above reproach, a darling of London high society, and a friend to superheroes everywhere. She is Georgiana Snow…the HECKBLAZER!
At Comic-Con international in San Diego, moderator Mark Evanier began his panel discussion with a twist -- the history of how the panel was created. "There used to be something called the Golden Age Panel," but, as Evanier recounted, there were too few comic pros from the era attending cons to populate the panel. "So it became the Golden/Silver Age Panel, then the Silver Age Panel. Then, we couldn't get enough people for the Silver Age, and it became That '70s Panel."
With that brief history out of the way, he introduced the panel of legendary comics creators, which included Bob Layton, Chris Claremont, Don McGregor, and Dean Mullaney. He kicked the talk off by asking how the panelists got into comics.
McGregor started with a bold story of his entrance to the profession. "In 1969… I met Alex Simmons," said McGregor. "If I do one thing and work really hard and do it well -- Alex, he could do everything. We made our own comic book, stapled them ourselves and brought them to a Phil Seuling con," continued McGregor, referring to the legendary figure in comics history. "Jim Warren -- he always says, 'I make the best comics, better than the others because I can do things they can't.' I come to him and ask him, 'Then why do you publish crap?' He goes 'What are you talkin' about?! What comic book is crap?' And I wouldn't do this today, but I pointed out a story, and he says, 'Oh yeah? Come with me,' and grabs me and drags me to the screening room… He walks into the movie room, and goes down the aisle, and this guy who's 6' 6" gets up, and I didn't know it was ['70s comic book artist] Billy Graham, and he brings him back to me and says, 'Tell Billy Graham his story's crap!'"
Chris Claremont said he "started for Marvel as a go-fer, go for coffee or sandwiches… I was just saving up money so I could go to summer stock and be an actor. But I got an opportunity to write and edit." In a short amount of time, he was writing the #1 hit series, "X-Men." "I answered submissions. I typed up the letters, basically 'dear so and so thank you for your interesting submission. Have you tried DC, we're not interested…' I never thought I'd be a writer, especially in comics," continued Claremont. "We were counting down the death of the industry, sales were in collapse every month. Comics went through news distributors and they weren't buying them anymore, so this is just a cool gig for two, three, five years and it'd be out of business by 1980."
"One of the true joys of that time was the Neal Adams/Roy Thomas X-Men, and I'd see pages come in of a sentinel fight!" Claremont lamented the title's cancellation by making a pointed contrast about the business between then and now. "We had a rule at Marvel -- every comic has to make money. If it prints less than 150,000 copies, it's dead. A success was 250,000-500,000. Us seasoned pros look at a comic today that sells 12,000 and is considered a success -- and I mean, Marvel not an independent! It makes us say," and he lowered his voice and whispered into the microphone, "what the fuck?" He said he remembered the moment he gave up on acting for comics: "'X-Men' #121. I said 'Wow, we're selling a lot of copies… I'm making some money!'"
Legendary "Iron Man" writer Bob Layton revealed that he did his first comics fork for Charlton. "I learned to read from comics," said Layton. "I skipped grade four and graduated early. I wanted to tell stories -- writer, editor, producer, whatever." He got "the chance to apprentice with [legendary artist] Wally Wood -- I was a background artist. There were only 30 books being published, you had to wait for someone to die to get a job.
"I got a tryout on Iron Man, and I loved him, but… he was the red-headed stepchild of Marvel," continued Layton. "It was at ninety thousand in sales, but my fourth or fifth issue got up to the two hundred thousand range. Within a year, it turned into one of Marvel's top selling books."
Evanier broke in to mention that he was the first person to overnight a package to DC Comics, saying he would "drop the packages off at the airport in Los Angeles at 2 AM, and they'd arrive later that morning in New York." He said a woman from DC Comics anxiously called him "that morning and said, 'When did you mail this?' I said, 'Yesterday,' and she said, 'And it's here now?' I said, 'Apparently.'"
Evanier also stopped the panel when the videographer needed to change memory cards and he didn't want any good comments to miss being included in the record. "This will only take 30 seconds -- don't say anything of importance." That's when Claremont blurted out, "Vote Trump!"
McGregor talked about his early days with Black Panther in the Marvel series "Jungle Action." He said he got it because it was a troubled title. "The first three issues, three different artists -- let's give it to Don."
Steve Gerber told me he was in the room when they assigned that to you," Clarmeont added. "They said, 'We'll give him 'Jungle Action,' it'll die and we can tell him we gave him a chance.'"
Dean Mullaney said that at first his "goal was to work for Marvel Comics," but he soon tired of corporate comics and decided to strike out on his own and publish independent comics. "The '70s was when the industry changed from newsstands to comic shops, and that allowed comics to survive." He also was a key person in the movement to pay artists royalties for the sales of their work. "My goal as a publisher was to pay artists royalties -- and I did."
"There were moments in comics history where publishers paid royalties," Evanier added. "Russ Manning in the '60s for Gold Key on 'Magnus, Robot Fighter,' and they got pressure from the rest of the industry to stop doing it… In the '70s and '80s, any time you brought up royalties to anyone they said, 'You're an idiot, you don't know how the business works, we'd never survive, we'd be dead in a week.'" Evanier noted that the industry soon caught on that certain writers and artists -- like Layton and Claremont -- were attracting greater audiences and sales, but it was pioneers like Mullaney that helped pave the way.
#BatmanVSuperman #DawnOfJustice #BatmanVSupermanDawnOfJustice #Superman #LexLuthor #LexCorp by dcentertainment
Monday, July 27, 2015
She's one of FABLES' legendary princesses... and a killer secret spy. #TeamCinderella #Fables150 by dccomics
With their third “DC Comics Special” airing this fall, the cast and crew of “Robot Chicken” returned to Comic-Con International in San Diego for a hilarious and informative — but also oddly short — 35-minute panel.
The presentation featured co-executive producer/writer/actor Kevin Shinick, director Tom Sheppard (who helmed the “DC Comics Special” as well as “Robot Chicken’s” upcoming eighth season), executive producer/co-head writers Doug Goldstein and Tom Root, DC Entertainment Chief Creative Officer Geoff Johns, actor/writer Breckin Meyer, and co-creators/executive producers Seth Green and Matthew Senreich.
The discussion was moderated by Adult Swim Executive Vice President Keith Crofford, who began by revealing that the eighth season will premiere in October, as will the DC special. They then rolled the trailer for the special, which recapped the first two installments before launching into a quick succession of clips from the third, culminating with the special’s full title: “Robot Chicken DC Comics Special 3: Magical Friendship.”
Senreich explained that the special is about Batman and Superman and was inspired by the upcoming “Batman/Superman, whatever” movie. His colleagues jokingly interrupted him, asking, “Did you guys know about this?” Senreich ignored the jabs.
Green said the special also deals with the DC Multiverse. “I forget who pitched the idea of the multiverse,” Green admitted, “but as soon as that came up, it was game over. Then we got Adam West and Burt Ward to play Batman and Robin. Well, Burt Ward plays Burt Ward. A creepy Burt Ward.”
“Wait,” Meyer interjected, “is Burt Ward playing ‘Creepy Burt Ward’ or is Burt Ward a creepy Burt Ward?”
“Those are all questions to be answered in the ‘Robot Chicken DC Comics Special 3,'” replied Green, who lamented that while they’ve included a lot of obscure characters, “We still haven’t gotten Arm-Fall-Off-Boy into a special.”
In a clip from the special, Ra’s Al Ghul gets into a youth-restoring Lazarus Pit and, when he tries to get out, Batman kicks him in the face. A slightly younger Ra’s tries to get out again, only to have Batman thwart him, and this repeats until Batman is forced to admit, “Well, I just killed a baby.”
After barely 10 minutes of discussion, the panel was opened to audience questions. While most inquiries merely prompted jokes, the panelists did reveal a couple interesting tidbits about the show and the special. First, there will not be a Black Cherry special in the spirit of Bitch Pudding, which presumably came as bad news for the question, who was dressed as Black Cherry.
The panelists then responded to a question about the franchises they “haven’t been able to touch.” The wording prompted Shinick to inquire, “When you say ‘touched’ …” Root answered seriously, noting they’ve never been able to crack a “Dexter’s Laboratory” sketch. “We wrote one but killed it,” he revealed.
Green then joked that he would see the questioner, who was dressed as Mo-Larr, Eternian Dentist, in six months for his check-up.
They were then asked if anyone has ever gotten angry with them for destroying a toy. “When we’ve told a story about destroying a Mego Batmobile, we often get the nod of death from people,” Senreich said.
A fan then asked if they would ever include Snowflame in a DC special. Surprisingly, Johns admitted, “I have to say, I don’t know that character. […] Is that the cocaine-created character?” The fan acknowledged it was.
“If you guys have any balls at all,” Meyer said to Johns, “that will be your next movie.”
The next fan asked if any of their sketches had been cut, to which Shinick replied, “For this DC Comics one — and it was cut for time — we cut one where … let’s just say that if instead of the Joker coming up with Joker Venom he came up with Jerker Venom. But you will see it on the Blu-ray.”
Next up was a fan asking why they hadn’t done a sketch based on “Mass Effect,” given that Green was the voice of Jeff “Joker” Moreau in those games. “We just ignore Seth most of the time,” Senreich replied.
“But if you’re interested in Seth Green trivia,” Root added, “you should YouTube his Burger King commercial from 1982, because it’s going to be on this current season, and you’re going to want to do your homework ahead of time.”
Asked who’s the best Batman, Green and Shinick replied Michael Keaton, while Root chose Kevin Conroy. Johns added, “But wait ’til you see Ben [Affleck in ‘Batman v Superman’], he’s pretty bad ass.”
Finally, Crofford wrapped up the panel by asking if there were any special guests on the DC episode. After arguing over who was supposed to bring the list, Green and Senreich rattled off such names as Jonathan Banks from “Breaking Bad,” Green’s “Buffy the Vampire Slayer” co-star Alexis Denisof, and DJ Steve Aoki.
“And Shooter Jennings did the theme song for the DC Special,” Green said. “Shooter’s dad is Waylon Jennings, who did the ‘Dukes of Hazard’ theme song, which our theme song is a parody of — but with Batman and Superman.”
Sunday, July 26, 2015
New EMPIRE magazine cover #DCcomics #BatmanVSuperman #DawnOfJustice #BatmanVSupermanDawnOfJustice #Superman #Batman by dcentertainment
Jimmy Olsen's first appearance wasn't in "Action Comics" #6. Don't believe what that comic book price guide says; the Daily Planet's favorite photographer was actually first introduced on the Superman radio show, which had its 75th anniversary celebrated during a special panel at Comic-Con International in San Diego.
Writers Mark Waid and Len Wein -- plus ex-DC Comics President Paul Levitz, who joined the panel in the final minutes -- discussed the legacy of the Superman radio show. Moderator Anthony Tollin, who researched and wrote "Smithsonian Historical Performances: Superman on Radio," started the panel by playing the radio program's iconic "faster than a speeding bullet" intro through the room's speakers.
Tollin said that the radio show's opening had defined Superman for many that grew up listening to the show. Jimmy Olsen aside, the Superman radio show also introduced Perry White, Kryptonite, and was the first medium to bring Superman and Batman together for their first team-up.
Tollin and Waid both credited the radio show in Superman's meteoric rise in pop-culture, with Tollin adding that the Man of Steel was the first superhero to move beyond comic books; he appeared in 30 million daily newspaper strips and five million people listened to the radio show.
"There's no pop-culture precedent for this," said Waid. "If you can imagine that Superman first appeared in the summer of 1938 and by the end of 1939 and 1940, he was everywhere. In newspapers, the New York World's Fair, at Macy's doing appearances, toy stores… on radio, everywhere." Waid chalked it up to smart, calculated marketing that made the character's presence felt everywhere immediately.
Bud Collyer -- the voice of Clark Kent and Superman -- was called the "forgotten Superman" by Tollin, who noted that Collyer played The Man of Steel for a remarkable 1,500 radio episodes for almost 10 years, versus George Reeves' better-remembered television portrayal that would follow in the 1950s; that show, titled "The Adventures of Superman," lasted 104 episodes.
The panel then turned its attention to Daily Planet staffers and Superman mainstays, Editor-In-Chief Perry White and photographer Jimmy Olsen. "Ignore what it says in the comic book price guide, where some dealer saw a copyboy running in the back panel of 'Action [Comics]' #6…drawn nothing like Jimmy Olsen," said Tollin. "Jimmy Olsen was created for radio."
Behind-the-scenes trivia was dispensed throughout the panel, including that actress Rollie Bester, who played Lois Lane on the radio show, was wife of Alfred Bester, sci-fi writer and creator Green Lantern's oath.
Waid also discussed the mysterious origin of Kryptonite. In 1940, Years before it made its debut on the radio show, "Superman" co-creator Jerry Siegel sold DC a story on K-Metal -- "a remnant of Planet Krypton that zaps Superman's powers."
"It was drawn and ready to go to print," said Waid. "It's a story that not only does Kryptonite first appear, but by the end of the story Superman reveals his identity to Lois Lane and they become partners in crime. I've talked to a lot of people and my general feeling is the story was rejected because... the people behind Superman were very protective of that character." Waid added that the story's publication would've have caused a major change to the status quo and the dynamic between the Clark and Lois.
The World's Finest team-up was also discussed, as the radio show was the first place Superman and Batman joined forces. Waid talked about how DC was savvy enough at the time to keep the storylines of Superman closely aligned with the comic book. "We're coming up to that point again," said Waid, mentioning how closely comic book writer and DC Comics CCO Geoff Johns works with the CW's "Flash" series.
Some historical anecdotes were also shared, including one about when the Superman radio show took a stand against the Ku Klux Klan and demonstrated how Superman did in fact stand up for "truth, justice and the American way." After an audio clip featuring a dramatic battle between Superman and the Atom Man was played, the panel talked about how the television version of Superman at the time wasn't as "super" as he was on the radio.
"But that's the beauty of radio, right?" said Waid. "It's the same as comics. Budget is not a concern."
"You have an infinite budget on radio, as you do in comics," agreed Wein.
Although some of the radio show has survived, the panel also talked about a missing swath of audio from 1941-44. "There's this two-and-a-half-year run, including the first appearance of Kryptonite, including the first Superman-Batman meeting, all of these important episodes, they're just gone forever," said Waid. The writer also talked about his personal attempt to assemble some of the old loose scripts, which he described as a "nightmare."
"It's a shame," said Waid. "Someone who loves Superman as much as I do, it kills me that there are these Superman stories that existed that are gone forever."
As the panel began to wind down, Levitz appeared and talked more about DC's early success with the licensing the character and moving Superman beyond comics and into radio and beyond. "DC, with the very rare exception, from the mid-1940s on tried to control its whole library," said Levitz. "When the X-Men movies start to succeed in the early-2000s, there were a lot of things that Marvel could have done to build the X-Men property into a world-class property, that they weren't able to do because they didn't control the X-Men cartoon... I think the DC founders were pretty good at thinking ahead," in keeping ownership over their library.
Saturday, July 25, 2015
‘Black Lightning’ creator Tony Isabella & DC Comics reconcile
In an era where the creator’s rights conversation is as loud as its ever been in comics, this week saw some surprising news quietly slip out onto the web: Black Lightning creator Tony Isabella and DC Comics have taken the first steps towards reconciling a very contentious relationship.
The writer has long contended he’s the sole creator of DC’s first black superhero to star in a solo series as the character wasn’t introduced under a work-for-hire agreement but rather a partnership between he and DC. It was only after Isabella sought to buy out the publisher’s interest in the character following the cancellation of that first series in 1978 that he says DC declared artist Trevor Von Eeden as Black Lightning’s co-creator.
While Isabella did some later work with the publisher — most notably the first nine issues of a 13-issue Black Lightning revival in 1995 — he’s spent the majority of the past two decades being very vocal about his discontent with the publisher and their treatment of him. Most recently, the writer spoke out against DC’s choice to revive and redesign the hero as part of the New 52 initiative.
But last week, an Amazon listing appeared for a new reprint volume of the original Black Lightning series (including a rare final issue by Denny O’Neil, Trevor Von Eeden and Mike Nasser originally published in Cancelled Comics Cavalcade). This prompted Isabella to confirm via Facebook that he and DC were back on speaking terms (as publicized by The Beat’s Jeff Trexler). Isabella later told the story of the reconciliation on his personal blog.
“Geoff wanted to talk about Black Lightning and my dissatisfaction with my decades-unpleasant relationship with DC Comics,” he wrote. “Just as I always have, Geoff sees a lot of potential in my finest creation. It’s a potential the previous DC management clearly never saw. We talked about what it would take to make things right between me and DC so that Geoff could, in good conscience, consider developing the character in this bigger-than-1976-or-even-1995 new comics world.
“That conversation will remain private for now. Let’s just call it a good start. It was the first time in two decades a DC executive didn’t speak to me like I was a child or insane.”
Isabella went on to say that he has high hopes for the collection and his future with DC, praising both Johns and co-publisher Dan DiDio for treating him in an upright manner. Whether that means more collections, more work or more Black Lightning in other media will wait to be seen after the collection arrives in April of 2016.