Saturday, April 30, 2016

Gotham is under his protection. Always. What was your reaction to Snyder and Capullo's final BATMAN #51? Do you have a favorite moment from their run? by dccomics


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Friday, April 29, 2016

DC Comics' "Rebirth" Character Designs for Batman, Wonder Woman and More


via Comic Book Resources

DC Comics' "Rebirth" initiative is set to launch in late May starting with the "DC Universe: Rebirth" one-shot written by Geoff Johns and illustrated by Gary Frank, Ivan Reis, Phil Jimenez and Ethan Van Sciver. "Rebirth" aims to bring back some of what's been missing from DC's recent output -- though exactly what elements and which characters are coming back remains mostly a mystery -- and relaunch every series with a new #1, except for "Action Comics" and "Detective Comics," which are returning to their old-school numbering (starting with #957 and #934, respectively).

The "Rebirth" relaunch also brings refreshed looks for many of DC's major characters, including Batman, Superman and Wonder Woman -- and CBR has a look at annotated character designs by artists Jim Lee, Tony Daniel, Pat Gleason, Brad Walker, Jonboy Meyers & Jorge Jimenez; covering the aforementioned iconic trilogy plus Aquaman, Green Lantern Jessica Cruz, the Super Sons and Harley Quinn & Killer Croc of the Suicide Squad.

DC Comics' "Rebirth" starts with "DC Universe: Rebirth," scheduled for release on May 25.

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TAGS:  dc comics, rebirth, batman, superman, wonder woman, suicide squad, green lantern, super sons, aquaman, jim lee, tony daniel, patrick gleason, brad walker, jonboy meyers, jorge jimenez



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Clark has to explain his condition to Diana, and continue planning for when he's gone in the latest SUPERMAN/WONDER WOMAN #28. Can the world survive without Superman? by dccomics


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Thursday, April 28, 2016

Warner Bros. Studio Tour Hollywood's New DC Universe Exhibit Offers "Suicide Squad" Sneak Peek


via Comic Book Resources

The DC Cinematic Universe is headed to Warner Bros. Studio Tour Hollywood. Warner Bros. has officially announced "DC Universe: The Exhibit," which will allow fans to explore real sets and soundstages from the films.

Opening May 24, "DC Universe: The Exhibit" will let fans visit Harley Quinn's "Suicide Squad" cell before the film's release, use Batman's voice modulator from "Batman v Superman: Dawn of Justice," handle Lex Luthor's Kryptonite sample and more. Superman, Batman and Wonder Woman's costumes will also be on display.

RELATED: Robbie, Ayer Discuss Harley Quinn's "Suicide Squad" Look

"Since 1934, DC Comics has built a legacy of creating the world's greatest Super Heroes and Super-Villains," Warner Bros. Studio Tour Hollywood's Executive Director Danny Kahn said in a statement. "DC Universe: The Exhibit gives you the chance to explore the world of these characters from their first comic book appearance, to our latest feature blockbusters."

In addition to "Batman v Superman" and "Suicide Squad," the exhibit will pay homage to all seven members of the Justice League with a similarly interactive experience.

The next DC Cinematic Universe installment, "Suicide Squad," stars Jared Leto as the Joker, Margot Robbie as Harley Quinn, Will Smith as Deadshot, Jai Courtney as Captain Boomerang, Cara Delevingne as Enchantress, Adewale Akinnuoye-Agbaje as Killer Croc, Karen Fukuhara as Katana, Joel Kinnaman as Rick Flag, Jay Hernandez as El Diablo and Adam Beach as Slipknot and is scheduled for release on Aug. 5, 2016.

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TAGS:  dc cinematic universe, warner bros. studio tour hollywood, dc universe: the exhibit, warner bros, batman v superman, suicide squad movie



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The Mission - Civil War Between a Rebirth of Hope and the Future of Superheroes


via Comic Book Resources

On Wednesday, the latest issue of "PREVIEWS," the catalog showing all the comic books published by Diamond Comic Distributors, Inc., providing images and information on books that will be released two to two and a half months in the future. Comic book store retailers use it to order books, and fans buy the book to help them make decisions on future purchases.

The May 2016 issue, for books coming out in July 2016, showed a large number of titles for Marvel and DC Comics, the big events for both publishers being "Civil War II" and "Rebirth," respectively.

In looking at DC Comics' "Rebirth" Month Two, I noticed forward development of stories for their various Batman and Superman titles, including the premiere of "New Super-Man" #1, written by Gene Luen Yang and illustrated by Victor Bogdanovic, which brings a Chinese Superman into the company's mythology.

"New Super-Man" is one of the only four titles I'm looking forward to in the publisher's upcoming lineup. The same goes for "Deathstroke," the mercenary series with a creative team led by writer Christopher Priest and illustrated by Carlo Pagulayan, Igor Vitorino and Felipe Watanabe, as well as the new "Cyborg" series by John Semper, Will Conrad and Paul Pelletier. Unfortunately, neither "Deathstroke" nor "Cyborg" will be available within the first two months of the "Rebirth" relaunch.

Sometimes, being a purchaser of works done by writers of color requires patience. It can take a while before any given comic book publisher will hire writers of color, most notably Black writers, to tackle their monthly books. In this case, I'll have to wait until at least month three of "Rebirth" to put my support behind Priest and Semper.

On the other side of the equation, Marvel Comics' "Civil War II" storyline, and other titles, allows me the opportunity to support Black writers in July. The second issue of the "Civil War II: Choosing Sides" miniseries will be co-written by Brandon Thomas. "Power Man and Iron Fist" #6 is written by ongoing series scribe David Walker, who is also writing the new series "Nighthawk" ongoing series which will release its third issue in July. There's also another issue of the recently launched "Black Panther" series by author Ta-Nehisi Coates, illustrator Brian Stelfreeze and color artist Laura Martin.

So that's four for Marvel and zero for DC.

On top of that, it's generally becoming more and more difficult to be a weekly purchaser of monthly superhero comics from the two major publishers. Every relaunch reduces the company's inertia, and our faith in their ability to captivate and surprise us. Every event is a time investment, a guessing game in how many books you need to buy to get the meaningful parts of the story. Every new issue of a comic book bursts out the gate with fury and promise, and you hope against hope that it will not whimper and collapse before reaching the finish line.

The superhero genre is mostly dominated by Marvel and DC Comics, but paradoxically enough both of them must engage in dizzying acts of marketing, theatrics and regurgitation to maintain a desirable level of the market share. How long can that be maintained? You'll know the answer when you hear about another event or initiative, an indicator that sales are diminishing near unacceptable levels and require a shot in the arm with radioactive materials.

There is another option, another source for new ideas. Everywhere else. Maybe superheroes are the future, but not in the way most people view them or see them in blockbuster films and television shows. Maybe the "superhero" is not-so-slowly becoming dated, because all we need are heroes, and this is a time in which more stories of heroes are being created and produced, by creators of color.

This is the time of "Monstress," the Image Comics series written by Marjorie Liu and illustrated by Sana Takeda.

These are the days of "The Pack," the Egyptian werewolf saga created, written and illustrated by Paul Louise-Julie, with his next saga, the science-fiction series "Yohance," on deck.

We're living with our eyes looking at the "Horizon," a new science-fiction series led by writer Brandon Thomas and artist Juan Gedeon, published by Skybound Entertainment.

Comics are going "Postal," in the monthly Top Cow Productions series created by Matt Hawkins, written by Bryan Edward Hill and illustrated by Isaac Goodhart and Betsy Gonia.

Publishers such as Rosarium Publishing are operating in the same crowdfunding space as "Tuskeegee Heirs" creators Greg Burnham and Marcus Williams, utilizing Indiegogo and Kickstarter to acquire the means to create non-typical stories. Stories with characters of color, produced by creators of color.



The list of diverse creators, diverse heroes, works of quality produced outside of the Marvel/DC box, is much longer and more wildly imaginative than most of the ideas in the box. Some of those people and books make it to the pages of "PREVIEWS." Others don't. It may require more effort to find them.

The next time you're let down by the Big 2 publishers, think about how much effort it's worth to get the kind of stories you want, the kind of heroes you want. Next time you go to the comic book store after being let down, once again, go on the hunt for something else. We know publishing companies owned by corporations can only go so far with their ideas, their execution, their capacity to push the envelope and go to the dangerous places. With everyone else, there are no limits.


Joseph Phillip Illidge is a public speaker on the subjects of race, comics and the corporate politics of diversity. In addition to his coverage by The New York Times, CNN Money, the BBC and Publishers Weekly, Joseph has been a speaker at John Jay College of Criminal Justice, Digital Book World's forum, Digitize Your Career: Marketing and Editing 2.0, Skidmore College, The School of Visual Arts, Purdue University, on the panel "Diversity in Comics: Race, Ethnicity, Gender and Sexual Orientation in American Comic Books" and at the Soho Gallery for Digital Art in New York City.

Joseph is the Head Writer for Verge Entertainment. Verge has developed an extensive library of intellectual properties for live-action and animated television and film, video games, graphic novels and web-based entertainment.

His graphic novel project, "The Ren," about the romance between a young musician from the South and a Harlem-born dancer in 1925, set against the backdrop of a crime war, will be published by First Second Books, a division of Macmillan.

Joseph's newest comic book project is the upcoming Scout Comics miniseries "Solarman," a revamp of a teenage superhero originally written by Stan Lee.

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TAGS:  the mission, marvel comics, dc comics, rebirth, civil war ii

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EXCLUSIVE: Sears & Marz Emphasize Creative Freedom in Ominous Press Revival


via Comic Book Resources

In 1994, artist Bart Sears was a comic book industry star due to his works on books like "Eclipso" for DC Comics and "Turok, Dinosaur Hunter" for Valiant. Not content to work on other people's characters, that year he started Ominous Press -- a showcase for his own creations, including "Brute & Babe," a comic based on his instructional drawing column that ran in Wizard Magazine.

Ominous Press didn't end up lasting for more than a few releases, but more than 20 years later, it's back -- with Sears as Chief Creative Officer, and his prior Ominous colleagues back on board, with Sean HusVar serving as Publisher and Andy Smith as Art Director. This time, another comics veteran has joined Ominous -- Ron Marz, who will be Editor-in-Chief and lead writer. Sears and Marz have been friends for years and have worked on a variety of projects together, including time at now long-defunct comic book publisher CrossGen.

All four have a stake in the company, and as Sears told CBR News, " it's a chance to tell our stories, our way, without interference from anyone for any reason." The new Ominous started to came together last fall at Baltimore Comic-Con, when the four were together in person for the first time in decades.

The new Ominous Press is set to launch at this year's HeroesCon in Charlotte, North Carolina, which takes place June 17-June 19. Three books are planned for the initial launch: "Giantkillers," written and drawn by Sears; "Prometheus," written by Marz and illustrated by Tom Raney; and "Demi-God," written by Marz and drawn by Smith. Each book will be colored by Nanjan Jamberi. CBR News spoke in-depth with both Sears and Marz on their plans for Ominous.

CBR News: Ron, Bart, obviously, launching a company is a major undertaking, and you wouldn't do it if you didn't have good reasons. Let's start with this one: For both of you creatively, what opportunities do you see represented in Ominous Press that didn't exist otherwise?

Bart Sears: First and foremost, it's a chance to tell our stories, our way, without interference from anyone for any reason. Sean, Andy, Ron and I are all creative minds. We sit together and decide the tone and feel of our books, and the direction for Ominous. It's a lot of freedom. But for me, it's not really about that, because these stories I've crafted lead me creatively, they set their own boundaries and rules. I just work within them.

Ron Marz: The simplest answer is that it's the lure of creator-owned work. Ominous owns the properties, but we all have a stake in Ominous, so it's ultimately the same thing. One of the wonderful things about comics is that you can bring your vision to life with just a handful of people, and put it in front of the audience. There can be a direct line between what you create and the your audience, without filters or barriers.

People ask me about breaking into comics, and obviously what they're mostly asking is, "How do I break into working on superhero comics owned by large entertainment corporations?" But I always tell them that no one can stop you from making your own comics. Just go do it, and then put your work in front of people. Comics offer a rare form of creative freedom. You can tell any story you want to tell in comics. That's what we're doing with Ominous.

To look at things a bit wider in scope: What niche are you hoping that Ominous Press will fill in the marketplace that's needed at this point? It sounds like there's an attempt to reclaim something that you feel is missing from current offerings.

Sears: I grew up on pulp heroes, Conan, Tarzan, Doc Savage, the Shadow. There's a tone that runs through them, a kind of power and a relentless energy, that really had an effect on me. Stories of strong, flawed heroes that lived hard and loved life, even while fighting through the most horrible of events. It's that kind of relentlessness, that energy, that kind of broken, iron-willed, heroic grit, that I want to bring to Ominous.

Marz: I grew up on much the same stuff. Edgar Rice Burroughs and Robert E. Howard and Michael Moorcock were just as formative for me as Stan Lee and Jack Kirby. I love that kind of storytelling. This is a chance to work in those genres, which aren't as widely represented in comics as stuff like straight-up science-fiction or horror. Most of what we're doing has a cross-genre pedigree, but it all falls under the category of fantastic adventure. I think Ominous is less about filling a perceived niche than it is about pursuing stories we have a passion to tell. I feel like creators should be doing what they love, rather than just trying to chase what they think might have sales attached to it.

Sears: It's a tough thing to get a kid that watches the mind-blowing visuals and charismatic heroes in "The Avengers" and "Star Wars," and playing beautiful, immersive, crazily addictive video games like "Far Cry" and "Destiny" to read anything, let alone a comic. We want to make Ominous filled with characters and stories so powerful, so engrossing, that not only do you want to read it, you just can't wait to read the next one.

The name "Ominous Press" is hearkening back to a prior venture, but you could have started fresh with a new name had you chosen that route. What significance does the name have to you today?

Marz: I wasn't part of the first Ominous, so for me, this is new. I think it's actually good that I wasn't an active participant the first time around. I can hopefully come at things with a fresh eye and lend some perspective on what works as originally envisioned, what we can do better, and then where we can bring in some new ideas. I feel flattered to have been invited to the party.

Sears: To me, Ominous is the tone of the company, old and new, but not in a negative way. Ominous is that darkness that hovers in the corner, just out of sight, but with such a heaviness to it that you know it's there, that it's coming. I see Ominous as a fighting word, as a willingness to struggle against that darkness and crush it.

I've been creating these characters and stories for years, refining, defining and building their sagas. We'll be releasing the original Ominous material as a "Legendary" imprint, and that includes refining and then finishing the story we started years ago, collecting it all in a trade paperback.

Marz: I think Bart and Andy and Sean definitely feel like this is unfinished business. I know those guys have a sense of responsibility to pay off what was started years ago, as well as tell the next chapters. We just did our first convention as Ominous in South Carolina over the weekend, and I was gratified by how many people brought the original Ominous material to have Bart and Andy sign it. There's a core audience that remembers the work, which is great. But we realize that we have to make everything new-reader friendly, and provide a ground-floor experience for every reader.

If you were into the Ominous stories 20 years ago, or followed Bart's Brutes and Babes art lessons, we'd love to have you back. But if you've never seen any of that stuff, you're going to be welcomed with open arms.

Do you see a similarity between the initial three Ominous Press books? What do you see that these title offer that make them unique?

Sears: Similarity? No… and yes. All three are Ominous properties, created with the same eye to energy and style, and characters from one book may appear with importance in others. But the tones and types of stories are not similar at all.

"Giantkillers" is heroic, apocalyptic sword and sorcery/science fiction. Equal parts "Blade Runner," "Lord of the Rings" and "Mad Max: Fury Road," with a dash of "The Terminator."

"Prometheus" is set in a dystopian future. Think "The Matrix" on steroids, with some of the grim feel of "Judge Dredd."

"Demi-God" might, at first glance, appear the most familiar. Initially it seems like a superhero story, but it'll fool you. There are mythological themes as well as 21st-century science.

Marz: The frameworks for these stories already existed when I was invited to come and play, but from day one, Bart said, "Make these your own." He's giving us his babies to raise, which is a pretty rare gift.

I always feel like creative casting is a hugely overlooked aspect in comics. If you want the best results, the right talent has to be married to the right concepts. I'm writing "Prometheus" to take advantage of Tom Raney's artistic strengths. There's no sense in working with great artists and then sticking them things they're not enthused about drawing. Tom has already spent a long weekend at my house, during which we brainstormed and he designed a lot of the characters and settings. There's a very techno-organic feel to the book, which is obviously right up Tom's alley. "Prometheus" is about what happens when heroes in a fantasy world find out they're actually monsters in the real world.

"Demi-God" plays to Andy's strengths. There's a lot of over-the-top action, but there's also a lot of humor, which is what you expect when a modern slacker gets "rewarded" with the power of an ancient god. Not everybody's up to the "great responsibility" part that comes with great power. Writing a lead character who's a jerk, but a really appealing jerk, has been great fun.

Bart is writing and drawing "Giantkillers," but I'm editing it, and chipping in on the story where it's warranted. It's pure Bart Sears -- a big guy with a big sword, trying to keep a powerful villain from crushing the world under his boot heel.

Given that Ominous is a venture where the creators on these books are all clearly closely involved, are these concepts that you've developed for a while, but were looking for the right home? What made these comics right for Ominous?

Sears: I created all of these concepts to be within Ominous, I never imagined another home for them. I think the better question might be what made these creators right for Ominous. We all have our own ideas, and we don't always agree, but we listen and reason and share the same relentless vision. That may sound like marketing speak, or even just extremely geeky, but I don't care. It's the truth. This is a perfect storm of creators coming together in the right place at the right time.

Marz: One of the everlasting appeals of comics is you can wind up working with your friends. You can create something with people you like, and whose work you respect. Bart, Andy and Sean have been my friends for years. Tom Raney and I first worked together way back on a "Silver Surfer" issue very early on both our careers, and we've been friends ever since. Our colorist, Nanjan Jamberi, worked on my "John Carter: Warlord of Mars" run, and I was impressed enough to recommend him to Bart. Troy Peteri letters a great deal of what I write. A creative team is like a jazz combo. Everybody brings a different skill, but everybody has to work together and riff off of each other to make something greater than anyone could create solo.

What do you see, at this point, as the goals for Ominous? Is it to keep things small and with the principals, or do you see potential to broaden things out further?

Sears: Yes. And yes.

Marz: You know, Bart and Andy and I had ringside seats for the rise and fall of CrossGen. We saw what succeeded initially, and more importantly, we saw what was wasteful and self-indulgent and led to the eventually collapse of the company. First and foremost, we're doing this to tell these stories. But there are also business and financial considerations involved. Obviously you have to balance the creative with the business, and in my experience, the surest path to failure is biting off more than you can chew. We would love to grow, but we're not going to make the mistake of getting ahead of ourselves. The comics highway is strewn with the wreckage of publishers who have done just that.

In terms of actually getting these comics into the world, what's the current plan? Working with a publishing partner?

Marz: We're considering all the options. The nice thing about it is we know we can do it by ourselves if that's the way we decide to go. We have the backing and we have the experience to bring these stories into the world by ourselves. But if we find the right partner, we're not opposed to that at all. I can tell you the Ominous Press preview book will debut at Heroes Con in Charlotte in June. It'll have introductions to all three titles, with some extra goodies.

Sears: That's a discussion we've had continually since last November. We've been exploring the pros and cons of all the options we see, and it's not an easy answer. We're closing in on a decision. Whichever way we go, we know it's not an easy road. But we will be relentless. You can count on that.

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TAGS:  bart sears, ron marz, ominous press



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To those in life and those on the page who inspire good in us all: Happy #SuperheroDay! Who's your favorite hero? by dccomics


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Wednesday, April 27, 2016

Dini Explains Why Harley Quinn is Unstoppable, How a Mugging Inspired His New "Batman" OGN


via Comic Book Resources

One of the driving creative forces behind "Batman: The Animated Series," writer Paul Dini is a legend in multiple industries. He's written for television, animation and film, penned Batman stories and "Gotham City Sirens" (among many others) for DC Comics and introduced original creations like Jingle Belle and Madame Mirage. While you may know him for any of these, he casts the longest shadow for co-creating Harley Quinn with Bruce Timm. Harley is everywhere these days, from multiple DC comics to the upcoming "Suicide Squad" feature film.

RELATED: Paul Dini and Eduardo Risso Team For "Dark Night: A True Batman Story"

But Dini isn't resting on past accomplishments. This June sees the release of "Dark Knight: A True Batman Story," a Vertigo original graphic novel drawn by Eduardo Risso that's equal parts Batman and his own life, inspired by a violent mugging 23 years ago. And while he considers creating Harley "a start," he's more concerned with putting more new works out there than whether any of them top what he's already done.

At WonderCon 2016 in Los Angeles, Dini visited the world famous CBR Tiki Room to speak with Jonah Weiland about how big Harley has gotten, the trauma that inspired his latest Batman tale, and the advice he'd give anyone, whether they want to create or they're struggling with things in their day-to-day lives.


Harley Quinn co-creator Paul Dini spoke with CBR TV in the first part of his lengthy conversation about why Harley has gone from fan-favorite to amazing success, how she balances innocence with madness and whether she could take Deadpool in a fight.

On what is it about Harley that allows her to be interpreted in so many different ways and still feel like the same character:

Paul Dini: There is a sort of manic unpredictability to her. I think of her as almost like a sprite who goes out and does what she wants, she's very passionate about what she's doing, for better or for worse. So if she's on your side, great. If she's against you then that's not so good for you because she will go after you with the same sort of passion. But I think she's a character who does kind of represent passion and sort of a joie de vivre, just wants to go out and do whatever she wants.

I'm happy to see her break away from the Joker. When I had been writing her in "Gotham City Sirens" and a few other places I was moving her farther away from that, where she'd still have moments of, "Does he like me or not? Should I go back to him or not?" And maybe that'll always be a smaller element of her character, but I think of her now as more of a super screwball who's just out doing what she does, she loves completely and totally whatever she loves, but then moves on the same way. She does have the sort of manic quality to her but there's an innocence to her that a lot of people respond to, and that's especially apparent in all the cosplayers. They're not doing the mean version of her, they're doing the more funny, upbeat, or their own interpretations of her.

On which character created in the last 20-30 years even comes closest in terms of mainstream success:

Deadpool. And look at they're costumes, they're both red and black. I actually did something the other day where I went, "Deadpool, red and black. Harley, red and black. Mickey Mouse, red and black." Maybe there's something to that color combination that just makes popular characters. I said to somebody, "She's like Mickey Mouse. She's everywhere and all these different permutations of her. If you're looking to make money off a cartoon character, make them red, black and white, I guess. Like they did with Deadpool, that sure captured his look and he's not hurting these days.


The second part of the interview turns to "Dark Knight: A True Batman Story," Dini's Vertigo OGN drawn by acclaimed illustrator Eduardo Risso. The writer discusses the real-life violent origins of the story, how he dealt with the trauma and how writing this story allowed him to continue healing. He also talks about working with Eduardo Risso, how it felt to see some of the more violent pages brought to life and what depths the artists had to plumb within himself to bring it all to life.

On how a mugging inspired his new Batman story:

I look back to that time and there was a big split to the way I was living my life. I had gone through this experience and after months after I had got into it I was back at work and being upbeat, my same self, and I would go home at night and I would just drink myself stupid over this. Nobody really knew that I was doing that because in order to function I had to be one guy in one world and when I got home I was the other guy. That was just dealing with grief and misery and a lot of struggling feelings. It was something that I worked hard to get through at the time. People who were very close to me or who I worked with certainly knew about it, my family knew about it, but after that I felt like, 'I got through it. I'm not gonna talk about it, I'm just gonna go on with my life.'

In the 23 years since then I have a certain perspective over it and I feel like I can tell the story without a lot of the anger or conflicting feels I had at the time. I feel like I was too angry or confused to tell the story any time prior to this and I needed that time to kind of heal and become another person and I feel like I'm on the way to being a more healthier, happier person. Telling the story helped a lot, too, because it was something that was just tucked away in a box and it wasn't until Kevin Smith asked me about it on his podcast that I sort of pried the lid off. ... So I started talking about it and I started working through some feelings again and I had been talking to Dan [DiDio] and Geoff Johns about doing something, a graphic novel, and somehow this came up. We thought it would be a good fit for a Vertigo story because it was a chance to do Batman in Vertigo but not really the Batman that we know in the DC Universe. And they had also done the book, Steven Seagle's "It's a Bird," which is a wonderful book, and now this is sort of almost like a bookend. There's the Superman version and now there's the Batman version.

Because Batman was a very vivid character to me around that time, he was very much alive in my head and it was very easy for me to think in a very visual way of putting myself into that world, or have him standing next to me or hear the villains talking in my head. One step beyond that is bring them physically into the world where I'm having a dialogue with them but they're really ghosts or spirits or things in my imagination. So there are scenes where I'm in a hospital room and the nurse is taking my blood and the Joker is kind of laughing or something, there's a dialogue going on between all these characters, real and imaginary, at the same time. It worked out kind of therapeutic to tell the story that way. I think that a lot of people -- the Batman characters are just more than they are on the page or in a movie or on TV. They symbolize so many things. Batman himself symbolizes so many things. The Joker, the Riddler, Robin, they are all extensions of the way we use our lives and imaginations so they became a very good chorus to echo the thoughts that I had at that time.

On thinking he never wanted to write Batman again during "Mask of the Phantasm":

I never wanted to write Batman again, I knew that. We were in the middle of writing "Mask of the Phantasm" and I just told Alan Burnett, "Give my scenes to somebody else. I just don't want to write it." I was in the middle of writing this one scene where Bruce is assaulted by some street toughs, he's trying to protect his girlfriend, "I can't write this, and I don't think I can write anything else."

It was a time where what worked me out of it is people would say to me, "I like the cartoons. I like 'Batman,' I like 'Tiny Toons,' what's coming up next?" They would tell me the shows meant a lot to them and that's something I've discovered over the years. I got a wonderful letter recently from a police officer in Virginia who grew up watching the ["Batman"] animated series and it made him want to become a policeman. I think it's good that I didn't hang it up back then, and that's a point I make in the book. If people like this stuff -- rather than what it brings to me personally -- if they're really enjoying cartoons, and now's the chance to really make some good cartoons, I really want to go back and be a part of that. And more importantly, if I walk away the bad guys win. And they can't win.

On how confronting his feelings about the traumatic experience actually allowed him to get past it:

People have said to me, "Now that you've got the story out, does your heart feel lighter? Do you feel like a weight has been lifted?" And I said, "No, it's still there, but I feel stronger." And I feel that minimizes the burden is that I'm a bit tougher, I'm a bit stronger, and I can take on more than I thought I could.


In the final part of his conversation with CBR TV, Paul Dini explains why creating Harley Quinn is "a start," that he doesn't plan to give up or slow down any time soon, and relays a story about a recent fan encounter and the advice he gave to help put things in perspective.

On the lesson he learned from putting his creations out into the world:

Then they exist. Just bringing something into existence is really the best. And that's also -- I don't want to quit, and I don't want to give up anything. I talked to a little boy today who's 12 years-old who came to the panel earlier today. He's being bullied to the extent that he had to change schools and he says, "When does it get better?" And I said, "Not for a while. When you're 30, the gap of five years is not gonna be that great to you. It's great now because you're 12 and you haven't lived that much of your life, and I know how miserable this is. I know how bad you can feel. Everybody goes through it and I know that you just want to get through one more day. You gotta look at the big picture."

And I said to him, "Whoever's bugging you now is gonna stay where they're staying. You're gonna go on, so just go on."

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TAGS:  cbr tv, wondercon2016, paul dini, harley quinn, batman the animated series, batman, dark knight: a true batman story, eduardo risso



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Tuesday, April 26, 2016

If that's Astrid's father, does that mean she's part human and part...something else? Tell us your thoughts after reading CLEAN ROOM #7. by dccomics


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DC comics Announces Free "Scooby Apocalypse," "Future Quest" Previews


via Comic Book Resources

On Wednesday, May 11, DC Comics will offer fans a first look at their new line of Hanna-Barbera comics with a free, full-color preview catalog.

"Scooby Apocalypse and Hanna-Barbera Preview Edition" #1 will feature previews of "Scooby Apocalypse," "Future Quest," "The Flintstones" and "Wacky Raceland" in addition to insight and character sketches from DC Entertainment Co-Publishers Jim Lee and Dan DiDio.

Parker, Shaner on Why the Hanna-Barbera Wheel Doesn't Need Reinventing in DC's "Future Quest"

According to the official series descriptions,

SCOOBY APOCALYPSE – Featuring character designs by veteran artist Jim Lee and an origin story by Jim Lee and Keith Giffen (JUSTICE LEAGUE 3001), artist Howard Porter (SUPERMAN) will provide his own unique take on Freddie, Velma, Daphne, Shaggy and Scooby-Doo. “Those meddling kids” and their Mystery Machine are at the center of a well-meaning experiment gone wrong and they’ll need to bring all of their mystery solving skills to bear (along with plenty of Scooby Snacks), to find a cure for a world full of mutated creatures infected by a nanite virus that enhances their fears, terrors and baser instincts. This time, the horrors are real in this apocalyptic near-future badland! Issue #1 will be available in stores on May 25, 2016.

FUTURE QUEST – Writer Jeff Parker (AQUAMAN, JUSTICE LEAGUE UNITED, BATMAN ’66) and artists Evan “Doc” Shaner (JUSTICE LEAGUE DARKSEID WAR: GREEN LANTERN) and Steve Rude (WORLD’S FINEST, BEFORE WATCHMEN) join forces to bring fans new tales of adventure’s most iconic teenager, Jonny Quest, along with his sidekick Hadji. This series combines Team QUEST (Hadji, Race Bannon, Dr. Benton Quest and Jezebel Jade) with some of the most well-known action and adventure heroes ever created by Hanna-Barbera, including SPACE GHOST, THE HERCULOIDS, BIRDMAN, MIGHTOR and FRANKENSTEIN Jr., among others. Issue #1 will be available in stores on May 18, 2016.

WACKY RACELAND – Take The Ant Hill Mob, Penelope Pitstop and Dick Dastardly, mix in a healthy dose of “Mad Max” and you get this dark and gritty take on Hanna-Barbera’s “Wacky Races,” courtesy of writer Ken Pontac (REBOOT, HAPPY TREE FRIENDS) and artist Leonardo Manco (HELLBLAZER), with vehicle designs by Mark Sexton (MAD MAX: FURY ROAD). A time of hope and innocence with Utopia at the finish line has given way to planetary Armageddon and a desert wasteland full of radioactive lakes, nanotech dust storms, and cannibalistic mutants. Against this backdrop, the Wacky Racers and their sentient vehicles continue their contest, but now the competition is for survival, and there can only be one winner when the checkered flag falls. Issue #1 will be available in stores on June 8, 2016.

THE FLINTSTONES – Based on character designs by Amanda Conner (HARLEY QUINN, STARFIRE), writer Mark Russell (PREZ, GOD IS DISAPPOINTED IN YOU) provides his own unique perspective on everyone’s “modern stone age family,” with art by Steve Pugh (ANIMAL MAN, CONVERGENCE: HARLEY QUINN) Russell will use Bedrock’s most popular family to shine a light on humanity’s ancient customs and institutions in a funny origin story of human civilization. Fred is still the simple man, striving to be the king of his castle, Wilma is still the tolerant but not-indulging wife and Barney (with his wife Betty and infant son Bamm-Bamm) is still the original wingman, whose loyalty to Fred often outweighs his common sense. Issue #1 will be available in stores on July 6, 2016.

"Scooby Apocalypse and Hanna-Barbera Preview Edition" #1 will be available on May 11.

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Monday, April 25, 2016

Sexual Harassment Allegations Against DC Editor Eddie Berganza Become Public


via Comic Book Resources

Last week brought news that veteran editor Shelly Bond will leave DC Comics after her position as Vice President & Executive Editor of the Vertigo line had been eliminated, as part of a larger restructuring of the imprint. Following the announcement, a steady stream of social media discussion surfaced on allegations of sexual harassment against another one of the publisher's longtime editors, current Superman group editor Eddie Berganza.

DC Comics declined comment when reached multiple times by CBR News on the matter.

A perceived connection between Bond's departure and questioning of Berganza's status at DC developed after former Image Comics Director of PR & Marketing Jennifer de Guzman took to social media to ask why Bond's position was eliminated, while someone with "multiple complaints of sexual harassment" was seemingly still gainfully employed by the publisher. Nick Hanover of the pop culture commentary website Loser City then specifically named Berganza as the individual alluded to by de Guzman, leading to widespread talk of the editor's reputation among industry observers and fans, along with news coverage including a story on the matter published Monday by Paste Magazine.

Berganza was involved in a known incident of sexual harassment in March 2012, after show hours during the weekend of the WonderCon comic book convention, for which he was disciplined by the company and demoted from his then-position as Executive Editor. CBR News has learned that no misconduct involving Berganza has been reported internally since the WonderCon 2012 incident.

The situation was reported at the time by Bleeding Cool, who described the incident as a "senior comic book figure" making an unwanted physical advance on the romantic partner of a freelancer working for the unnamed senior figure. Two weeks later, Berganza was suggested by Bleeding Cool to be the editor involved.

Last Wednesday, shortly after the Bond news broke, former DC Comics editor Janelle Asselin wrote on Twitter, "I was one of many who reported Eddie Berganza's behavior in [2010]. I left DC because they promoted him anyway." Asselin later stated that it was specifically a sexual harassment claim that was made against Berganza.

In September 2015, comics writer Alex de Campi wrote a blog post claiming that "the Superman office allegedly employs no women" as "one of the most senior editors is a sexual harasser with multiple incidents on his HR file." Berganza was not named in the post, but given his status as editor of DC's Superman titles, the implication was clear.

It has not been officially confirmed that a policy preventing women from working in DC's Superman office exists. CBR has been informed that no women currently report directly to Berganza, though at least one woman is working on an upcoming Superman title as a freelance creator; artist Emanuela Lupacchino on "Superwoman."

DC Comics has not publicly acknowledged any past allegations of misconduct by Berganza, nor issued a statement on the current controversy surrounding the editor. Berganza has been with DC Comics since 1992, and has edited many of the publisher's highest-profile superhero comics in that time. Last year, he made the move from New York City to Burbank, California, as the company's editorial operations shifted locations to be more closely aligned with DC's west coast operations.

The discussion surrounding Berganza has also led to a larger, ongoing conversation on the issue of sexual harassment in the comics industry being revisited. Stories of harassment in the comics world have persisted for years, but have recently gained wider awareness as more have shared their experiences.

Keep reading CBR for the latest on the situation.

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"Shazam" Scribe Teams with Di Bonaventura for Sci-fi Thriller "Arcadia"


via Comic Book Resources

FB_DarrenLemke

“Shazam” writer Darren Lemke will bring sci-fi clone thriller “Arcadia” to the big screen with “Transformers” producer Lorenzo Di Bonaventura.

According to The Tracking Board, “Arcadia” is described as “The Road” meets “Source Code,” — and will blend together the elements of science fiction, action, and thriller — all set in a post apocalyptic clone society.

This news comes on the heels of Lemke being signed to write the sequel to Jack Black’s “Goosebumps,” as well as the script for DC Comics and Warner Bros. “Shazam” film.



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Harley ain't afraid of no ghosts! Can you sum up HARLEY'S LITTLE BLACK BOOK #3 in three words? by dccomics


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Sunday, April 24, 2016

Clark Kent has gotten a big head--literally, depending on where you look in Metropolis. Comment with your review of SUPERMAN: AMERICAN ALIEN #6! by dccomics


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Could These DC Comics Characters Make the Trip to "Krypton"?


via Comic Book Resources

Way back in December 2014, reports first surfaced that "Krypton" -- a prequel to the Superman mythos, not unlike current Batman-inspired Fox series "Gotham" -- was in development as a series at Syfy. Last week, news hit that the show is near a pilot order at the cable network, the first major update on the David S. Goyer-produced show in more than a year.

Of course, the natural question for comic book fans is, which characters might make an appearance on the show? It's been said that the series will focus on Superman's grandfather, but the window seems open for some more recognizable DC Comics heroes and villains from any timeline to play a part -- similar to all the Bat-villains that have already been seen on "Gotham." The cosmic setting also expands the show's potential, even after CBS' "Supergirl" has debuted characters like Non and Martian Manhunter. Though there's still a long road between now and the show possibly nabbing a spot on Syfy's schedule, right now feels like a natural time to speculate on which DC characters may make the trip to "Krypton."

Brainiac
Upon the original "Krypton" announcement, many fans wondered if Brainiac could be the show's big bad, given that in multiple versions of Superman's origin, the evil alien android played a part in Krypton's destruction. It feels likely that Brainiac would exist somewhere in this new series, whether it is as a villain or an artificial intelligence that has yet to turn on those that built it. "Krypton" could find a great deal of story potential detailing the origins of the consciousness that will one day become one of Superman's greatest foes. Brainiac has a nearly 60-year history as a Superman villain, and seems the most natural fit for a spot on "Krypton" -- so watch out for those signature dots.

The New Gods
If "Krypton" is picked up, the series will undoubtedly explore the origins of Superman's home world -- but the planet that birthed the Man of Steel was potentially visited by many cosmic beings, right? Perhaps the eternal war between New Genesis and Apokolips could have spilled over to Krypton, as well. The battles between Superman and Darkseid are legendary, but what if Darkseid became aware of Superman's home world years before he first encountered the Man of Tomorrow? There are many ways to combine Jack Kirby's Fourth World characters with Krypton's past, and heck, Darkseid's first comic appearance was in the pages, of all places, "Superman's Pal, Jimmy Olsen," so the Fourth World/ Superman connection already has a precedent. The DC cosmos is a vast place and a planet as important to the galaxy as Krypton seems bound to get the attention of the gods.

Abin Sur
We know another "Green Lantern" film is in the works from Warner Bros., and if any degree of corporate synergy is possible, "Krypton" may be the place for it. It wouldn't be too far a stretch to introduce Abin Sur, Hal Jordan's predecessor as protector of Sector 2814, to the world of "Krypton" as featuring a Green Lantern could scratch the superhero itch in this presumably sci-fi-focused series. "Krypton" could be a place to focus on the early history of the Corps before the Green Lanterns are reintroduced to movie fans in 2020 -- although, given how DC and WB seem determined to keep the worlds of movie and TV separate, this one is a longer shot.

L.E.G.I.O.N.
The Legion of Super-Heroes is one of the most important concepts in the Superman mythos. The existence of a futuristic team of teen superheroes inspired by Superman's legend solidifies the Man of Steel as a heroic figure not only in the present day, but a thousand years in the future. While "Krypton" plants the seeds of Superman's origins, it could also set the foundations for the creation of the Legion of Super-Heroes by introducing its contemporary counterpart, the intergalactic band of mercenary space cops, L.E.G.I.O.N. The "L.E.G.I.O.N." series was one of DC's most consistent comics in the turbulent '90s and would be a great way to introduce some of DC's alien races to the world of Krypton. The team's leader is Vril Dox, an heir of Brainiac -- which could be another way of representing the classic villain on the show.

Mon-El
Another connection to the Legion of Super Heroes, the Daxamite known as Mon-El could be inserted into the narrative of "Krypton" to provide a superpowered presence. The series would have to play fast and loose with parts of the timeline established for Mon-El in the comics -- certainly not unprecedented for a live-action adaptation -- but Mon-El is an important figure in the history of Superman and could be introduced early on to create a deep bond between the future Superman and the mightiest Legionnaire. Mon-El might make sense as the first encounter the people of Krypton have with a superpowered being enhanced by a yellow sun -- obviously a portent of big things to come.

The Omega Men
The Omega Men are practically DC's version of the modern-day Guardians of the Galaxy, and could be an easy way to introduce a vast variety of alien heroes to feature on Syfy. The Omega Men have connections to some iconic locales in the DC Universe like the planet Tamaran (the birthplace of the Teen Titan known as Starfire) and would be a means for the series to explore signature DC locations beyond Krypton. The Omega Men have a "Defiance"-like vibe, and their group aesthetic would expand the palette of any DC-based series.

Nightwing and Flamebird
No, we're not suggesting that the adult Dick Grayson should journey to Krypton's past (although that would be awesome). Nightwing and Flamebird were two legendary Kryptonian vigilantes that shared many similarities to Batman and Robin. Having two costumed vigilantes protecting the streets of a major metropolis on Krypton could create a thematic parallel to Superman's role on Earth, plus pay tribute to the adventurous spirit of the Silver Age of comics. The stories of Nightwing and Flamebird could be used as the inspiration for the House of El in creating the morals and mission statement that shaped Superman's identity.

Mister Mxyzptlk
Who says everything has to be dire all the time? The mischievous imp from the Fifth Dimension, Mister Mxyzptlk, could have a new reason that he loves to pester Superman so much -- perhaps he also played his games with Superman's ancestors. Mister Mxyzptlk is one of Superman's most enduring foes but also one of his most underutilized, as the playful tone the character brings doesn't always fit into the hard sci-fi that permeates modern Superman stories. But a multidimensional prankster? Surely that has a place on Syfy.

Mongul
Mongul could be a perfect choice to challenge the sanctity of Superman's home world. Imagine a season-long conflict between Mongul's Warworld and Krypton and you understand the scope that this series could potentially reach. Introducing Mongul can potentially mean the introduction of classic story elements, including the myriad aliens of Warworld. Mongul could branch the scope of the series beyond Krypton's borders, and into the vast cosmos of DC. The hatred that Mongul holds for Superman may have begun long before the despot first encountered the Man of Steel, and that tale could potentially be told on "Krypton."

Captain Comet
Perhaps Superman's grandparents could meet a hero from Earth, one with a Flash Gordon/Buck Rogers vibe that can show the Els our planet's potential when it comes to heroism and sacrifice. Captain Comet is one of DC Comics' oldest space heroes, and could make sense as an inspiration for Superman's costume and ideology. You can't go wrong with some classic, movie serial-inspired sci-fi and if "Krypton" has any contact with Earth, Captain Comet is a fitting pick for a bridge between Superman's two worlds.

Space Cabbie
Yeah, probably not. But how fun would this high concept be? A cabbie who tools around in space having adventures while he picks up fares? It's an old-school concept that could deliver a little levity to the likely serious-minded happenings on "Krypton."

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TAGS:  krypton, syfy, david s goyer, superman, dc comics



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J.K. Simmons Says Commissioner Gordon's Role in "Justice League: Part 1" is "Very Small"


via Comic Book Resources

While "Batman v Superman: Dawn of Justice" introduced the world to cinematic versions of many of the Justice Leaguers, their appearances were extremely brief. That means director Zack Snyder will have to give them plenty of exposition in "Justice League: Part One," leaving little screentime for the rest of the film's supporting cast. J.K. Simmons, who was recently cast as Commissioner James Gordon in the movie, knows that includes his own role.

"I don't get started on that until June, and my part in the first one is very small," the Oscar winner said in an interview DP/30 for his new film "The Meddler." "I'm excited to be playing that iconic character in that iconic series."

"I'm going into a thing that hopefully will be two, three, four, maybe more movies for me, and my part in the first one is really very small," he added. It's likely Gordon will also appear in "Justice League: Part Two," as well as the solo Batman film in which Ben Affleck is starring and directing.

Simmons went on to discuss his approach to the character. "But obviously, we know who the guy is," he said. "We know his whole backstory, based on the comic book. So, I'm just gonna finish doing my research on that. And probably not watch the other actors who have played the part, because that is kind of intimidating, honestly, and I don't think I would find that to be productive. So, I'll do my take."

Watch the interview below (via Comicbook.com). His comments, which include remarks on meeting Snyder, start around the 03:00 mark.

Simmons will make his debut as Commissioner Gordon in Zack Snyder's "Justice League: Part One" alongside Ben Affleck, Gal Gadot, Jason Momoa, Henry Cavill, Ezra Miller, and more, including the recently cast Willem Dafoe. The movie is due in theaters November 17, 2017.

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TAGS:  jk simmons, justice league movie, zack snyder, dc comics, dc entertainment



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Friday, April 22, 2016

Kal-El breaks the news to Kara, bequeathing the entire Fortress of Solitude to her...but will anything be enough to replace Superman? Comment with your reaction to ACTION COMICS #51. by dccomics


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DCEU RUMORS: "Green Lantern Corps" Enlists Kyle Rayner; "The Flash" Casting These 5 Characters


via Comic Book Resources

While it's been rumored for a while that "Green Lantern Corps" would include Lanterns Hal Jordan and John Stewart in a "buddy cop"-style film, a new report suggests that '90s Lantern Kyle Rayner is also in the mix.

RELATED: "BvS" Producer Suggests Cyborg May Appear In "Flash" Solo Film

According to Latino-Review, Warner Bros. wants Hal, John and Kyle to headline the film, with the intention for Hal to be portrayed by someone of Matt Damon's age range, alongside John and Kyle, who would be played younger actors.

Additionally, Heroic Hollywood has a rumor that posits five characters Warners wants to cast for the Ezra Miller "Flash" film: Iris West, Len Snart/Captain Cold, Eobard Thawne/Reverse-Flash, Fred Chyre and Jay Garrick, in a cameo.

Here's how each character is outlined in their report:

Iris: "Iris West is described in the breakdown as having Christiane Amanpour’s brains and Carrie Bradshaw’s style. An overcaffinated doe. A reporter at The Central City Citizen. Actresses are currently testing for this part."

Reverse-Flash: "Eobard Thawne is described in the breakdown as Central City’s Bill Gates. The smartest man in the room and he suffers from advanced degenerative disease like Stephen Hawking. Thawne is confined to a chair."

Fred Chyre: "Fred Chyre is described in the breakdown as a gruff detective who first meets Barry at the scene of a crime. Now they’re colleagues and the closest thing Barry has to a friend. Chryre is investigating the unusual death of someone at Thawne Laboratories."

Captain Cold: "Len Snart is described in the breakdown as being ex-military and turns out to be working for Thawne. Have a feeling he is the muscle the way Anatoli Knyazev (aka the KGBEAST) was the muscle for Lex Luthor in 'Batman v Superman: Dawn Of Justice.'"

RELATED: "Justice League's" Zack Snyder Reveals Why He Passed on Grant Gustin as The Flash

Jay Garrick: "Jay Garrick is described in the breakdown as being a former Central University professor who was fired for fringe science, and was working on the speed force program. Supposedly his role is just a cameo."

"The Flash" is slated for a March 16, 2018 release, while "Green Lantern Corps" is set to hit theaters on June 19, 2020.

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TAGS:  warner bros, green lantern corps (film), the flash (film), kyle rayner, john stewart, hal jordan, iris west, eobard thawne, captain cold, jay garrick, dc comics, green lantern corps, the flash



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Hawkgirl and Hawkman Are Reunited in Latest's "DC's Legends of Tomorrow" Synopsis


via Comic Book Resources

It looks like Hawkman will swoop back into before the first season ends. Actor Falk Hentschel is listed in The CW's freshly released plot synopsis for "Destiny," the second-to-last episode of the DC Comics-based show's first season. Hentschel, who debuted in the role on "Arrow" and "Flash" before co-starring in the first two episodes of "Legends of Tomorrow," hasn't been seen since the early days of the spinoff -- but he's set for a reunion with Kendra (Ciara Renée) for the episode airing May 12. Also, it looks like Captain Cold (Wentworth Miller) might actually like being a hero -- the full synopsis follows.

CAPTURED – Being in the vicinity of the Time Masters leaves Rip (Arthur Darvill) and Rory (Dominic Purcell) incredibly disturbed for very different reasons. Meanwhile, Sara (Caity Lotz) takes over the Waverider, Kendra (Ciara Renée) is reunited with Carter (guest star Falk Hentschel) and Snart (Wentworth Miller) decides he might be a hero after all. Olatunde Osunsanmi directed the episode with story by Marc Guggenheim and teleplay by Phil Klemmer & Chris Fedak (#115). Original airdate 5/12/2016.

"Destiny," the penultimate episode of the first season of "DC's Legends of Tomorrow," airs 8 p.m. Thursday, May 12 on The CW.

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TAGS:  legends of tomorrow, the cw, falk hentschel, ciara renee



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Happy #EarthDay! Swamp Thing isn't the only steward of The Green. Let's all do our part to preserve the planet! by dccomics


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Thursday, April 21, 2016

Princes inspiration could be felt everywhere. [image: Batgirl 40 variant by @cliffchiang] by dccomics


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Pilot For Superman Prequel "Krypton" Nears A Lock At SyFy


via Comic Book Resources Across the multiverse of DC Comics TV adaptations, perhaps none covers newer ground than David Goyer and company's in development "Krypton" – although it is set hundreds of years before the Man of Steel makes his debut. The Hollywood Reporter today has news that the pilot that's been gestating since December of 2014 is very close to a full greenlight. If the show does move forward, talent involved will include pilot writer and Goyer's co-creator Ian Goldberg ("Once Upon A Time"), pilot director Colm McCarthy ("Sherlock") and showrunner and executive producer Damian Kindler ("Sleepy Hollow"). No cast has been announced. Set 200 years before Superman's doomed planet exploded, the series was described by Goyer (who's famously penned a number of big screen comic book adaptations including "Man of Steel") last year saying "Should we make the show, there will definitely be some big moments. It won’t be wall-to-wall visual effects every single moment, spectacle, in the way that the film will be, but we’ll also be digging into the characters and the culture a lot more." Stay tuned to CBR for more on whether SyFy will go forward with "Krypton." Discuss this story in CBR's TV/Film forum.  |  2 Comments TAGS:  krypton, david s goyer, syfy Powered By WizardRSS.com | Full Text RSS Feed

Wednesday, April 20, 2016

"The Flash's" Version of Jay Garrick is 'No Reinvention' Says EP Greg Berlanti


via Comic Book Resources SPOILER WARNING: This article contains major spoilers for "Versus Zoom," the latest episode of "The Flash." "The Flash" has made Jay Garrick -- the original Scarlet Speedster -- bad to the bone. At least, that's how "Versus Zoom" made it look when the episode revealed Jay Garrick/Hunter Zolomon's history as a serial killer on Earth-2. However, according to executive producer Greg Berlanti, the show "would never make him a baddie." For those inquiring, we love Jay Garrick and would never make him a baddie. No reinvention. Keep watching :) love that you're asking q's. — Greg Berlanti (@GBerlanti) April 20, 2016 RELATED: "The Flash" Deals with Losing His Speed in New Trailer for "Back to Normal" Berlanti's comment follows some backlash on social media, particularly from comics writer Mark Waid, who wrote "The Flash" for years for DC Comics and has previously expressed his enthusiasm for the TV series. On Twitter, Waid express his belief that the Jay Garrick/Hunter Zolomon twist appeared to betray the 75-year legacy of the comic book character. Wow. Wow. Wow. For the first time, #TheFlash faceplanted an episode/reveal, betrayed all good will. Sorry I watched. #heartbroken — Mark Waid (@MarkWaid) April 20, 2016 My complaint is bigger than plot. It's about pissing on legacy. Unless there's some Jay fix, I'm out. #TheFlash — Mark Waid (@MarkWaid) April 20, 2016 However, following Berlanti's Jay Garrick-related tease, Waid amended his earlier statements, Tweeting, And I apologize. This fixes my mood. https://t.co/QuN28vuoFd — Mark Waid (@MarkWaid) April 20, 2016 Again, sorry I blew my stack if I was wrong about the reveal that E2 Flash was secretly a villain. That felt betraying. Glad there's more2it — Mark Waid (@MarkWaid) April 20, 2016 As for Jay Garrick, it appears his backstory -- and future in the DCTV universe -- may not be quite so straightforward as "Versus Zoom" led fans to believe. After all, Zoom has lied to Team Flash before; it shouldn't come as a huge shock if he's up to no good again. Starring Grant Gustin, Carlos Valdes and Jesse L. Martin, "The Flash" airs Tuesdays at 8 pm EST on The CW. Discuss this story in CBR's TV/Film forum.  |  1 Comments TAGS:  the flash tv, greg berlanti, mark waid, the cw Powered By WizardRSS.com | Full Text RSS Feed

@comicpopofficial is back on the #DCFansChannel talking all things SUPERMAN: AMERICAN ALIEN #6 check it out! Link in bio by dccomics


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Tuesday, April 19, 2016

Rosheen has the mystery arsonist right where she wants him in the tense finale. What did you think of SLASH & BURN #6? by dccomics


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$1 Billion Warner Bros. Theme Park Planned in Abu Dhabi


via Comic Book Resources $1 billion Warner Bros. theme park planned in Abu Dhabi Batman, Superman and Bugs Bunny are headed to the United Arab Emirates with a planned $1 billion Warner Bros. theme park in Abu Dhabi. Officially announced this morning by the studio and developer Miral Asset Management, the first phase of Warner Bros. World Abu Dhabi is set to open in 2018 on the man-made Yas Island, already home to Ferrari World, a waterpark and a Formula One race track. Phase 2 will include the world’s first Warner Bros.-branded hotel. Warner Bros. World will bring such studio properties as DC Comics, Looney Tunes and Hanna-Barbera together under one roof. Plans call for visitors to be able to step inside Gotham City and Metropolis. The goal is for the park to increase the number of visitors to Yas Island from 25 million in 2015 to 30 million in 2018. “Warner Bros. has been entertaining audiences for more than 90 years with the world’s most-loved characters and franchises,” Warner Bros. Chairman Kevin Tsuijihara said in a statement. “Working with our partners at Miral, we’ll bring this expertise to Yas Island to create a fully-interactive, innovative and unique experience that will allow fans of all ages to experience the most exciting aspects of Warner Bros. in a completely immersive environment.” (via Emirates 24/7) Powered By WizardRSS.com | Full Text RSS Feed

Monday, April 18, 2016

"Lucifer" Star Tom Ellis Teases Trip to Hell in Season Finale


via Comic Book Resources The Devil will be raising a little more Hell in remaining two episodes of "Lucifer" season one. After Lucifer (Tom Ellis) abandoned his throne for a much needed break in Los Angeles, he unexpectedly became enamored with humans and their lives. Detective Chloe Dancer (Lauren German) particularly piqued Lucifer's interest, especially since she was inexplicably immune to his supernatural powers and charisma. However, in an attempt to restore the universal balance, his angelic brother, Amenadiel (D.B. Woodside), pleaded with Lucifer to return to his fiery domain, to no avail. As a result, a desperate Amenadiel recently plotted to have a mortal Lucifer killed, which would cause him to go straight back to Hell. His scheme failed, leaving viewers wondering how a wrathful Lucifer might retaliate and whether it would jeopardize his redemption. Ellis recently spoke with CBR News about Lucifer's breaking point, his possible redemption, his relationship with Chloe and what may come in the recently renewed DC/Vertigo-based show's second season. CBR News: There have been multiple handsome devils on TV. What did you do to make your version stand out? Tom Ellis: The original script that I got for it, that was written by Tom Kapinos from "Californication," this character was brilliantly realized on the page. It was like a blueprint for me. I knew instantly what I wanted to do with it. It was so funny, which was the thing that really struck me, and I wanted to keep it funny. But, I also wanted to make sure that we could find a way to ground the character. As the series has gone on, and the veneer of Lucifer has stripped away slowly and he's had these experiences, we've found the way of doing that with things that really land with him. They surprise him as well as our audience. That's what I wanted to do with it. It wasn't like I wanted to actually make him different than any other devils out there. I just wanted to honor what we had in the first place. Almost from day one, Lucifer expressed a fascination with Chloe. However, somehow, she's immune to his charm, wit, sex appeal and killer singing voice. How much does that baffle and bug Lucifer? It's the driving force after our pilot. Lucifer doesn't want to solve crimes. He just wants to sort of spend time around Chloe, find out what makes her tick and try to get to the bottom of all this. Slowly, this sort of friendship blossoms between them and that surprises him. Then he realizes he trusts her and he's never really trusted anyone before. As we get towards our season finale and our episode tonight, for the first time, Lucifer feels betrayed by Chloe. It really takes him to a place he's never been before. Lucifer recently discovered Amenadiel was trying to kill him. So far, it's been the calm before the storm. How does Lucifer react when he comes face-to-face with his brother again? Not in the best way. Lucifer feels like he's trying to be the better man for the first time in his life. You certainly saw that when Amenadiel was on the beach in the wing episode. He was like, "Hit me. Hit me again. Please. Please. Fall like I did." Lucifer's goading him, but he's not fighting back. That tactic, alongside everything else in Lucifer's world crumbling, makes Lucifer say, "I've had enough." We get this almighty fight between them, which is something we had a lot of fun filming. We haven't seen Lucifer snap. Does this finally push him over the edge? Absolutely. The interesting thing about Lucifer is it's important to remember he's like a wild animal. People believe they may be taming him, but, at any moment, he could go. That's something that's been brewing all through the series. When he has a real reason to go, he goes crazy. It's more fun to sit on that rage than constantly be angry. You've stated this series is the ultimate redemption story. How much closer is Lucifer to achieving that? What do you believe have been some of the big steps he's taken? He's been selfless, which was the first step on his way to redemption. He was selfless in his protection of Chloe in the pilot and this preservation of her life. That set off a chain reaction in this crisis. He's like, "I can't understand what it is about this woman and why I've done these things." That was the first big one. The episode that really resonated with me about the power of what the show is capable of is the one called "A Priest Walks into a Bar." Lucifer begrudgingly becomes friends with a priest. The priest dies and then Lucifer rages about the unfairness of this whole plan and can't get his head around it. There's this idea that there's this greater plan and Lucifer hasn't quite come to grips with understanding what he's doing and could be part of it. Next week's season finale is titled, "Take Me Back to Hell," which sounds ominous. What can you say about the episode? Viewers can expect a few bombshells. The one thing I can tease about the episode is throughout the whole season, I've been asked, "Are we ever going to see Hell?" In the finale, yes, we do. That's all I'm going to say. Lucifer received a second season. What are you excited to explore? It's going to be an opportunity to explore the relationships amongst the other characters as well. The idea of who Chloe is, we still have to get to the bottom of that. There's also the notion about Chloe and Lucifer and why their paths have been put together. That's something that's going to be driving the show forward. There's something that happens at the end of the finale that I'm very excited about exploring in Season 2, but I'm not going to spoil it for you. "Lucifer" airs 9 p.m. Mondays on Fox, with episode "#TeamLucifer" on tonight, and first season finale "Take Me Back To Hell" on April 25. Discuss this story in CBR's TV/Film forum.  |  No Comments TAGS:  tom ellis, lucifer (tv), fox, dc comics, vertigo Powered By WizardRSS.com | Full Text RSS Feed

The Mission - Black Canary's DC Comics & "Arrow" Legacy, and the Heart of a Fan


via Comic Book Resources

SPOILER WARNING: The following contains spoilers for "Eleven-Fifty-Nine," the "Arrow" episode that aired April 6.


My time with Dinah Laurel Lance, DC Comics' Black Canary, was relatively brief, but impactful.

I grew up on the "Justice League of America" comic books which, among many other heroes, included Black Canary, in her fishnets, jacket, stiletto boots and bad attitude. She and Oliver Queen, the Green Arrow, were one of the popular couples within DC Comics' superhero Camelot.

But my love for the character began when I read about a one-shot comic book called "Black Canary/Oracle: Birds of Prey." With a creative team led by writer Chuck Dixon and penciller Gary Frank, the comic book took two female characters I liked and threw them into a covert ops world. Barbara Gordon emerged in full force as Oracle and Dinah Lance was her long-distance instrument, sword and shield against the terrible evils and ugliness of the world.

RELATED: "Arrow" Death: Showrunners, Stars Discuss How [SPOILER] Ended Up in the Grave

I met the mastermind and founding editor of "Birds of Prey," Jordan B. Gorfinkel, while I was an editor at Milestone, as we ended up using the same copier for a few minutes. "Gorf," as he is affectionately called by his fan club of millions, is the person who came up with the idea of pairing Oracle and Black Canary as a superhero duo, and it was a pleasure talking with him about the characters.

A few years later, I joined the Batman Editorial Group, and became the Associate Editor on "Birds of Prey," working side-by-side with Gorf to put out the monthly adventures of Black Canary and Oracle. In reading the comics and working with the creative team, "Birds of Prey" became my favorite comic book in the entire Batman group. In these characters, I saw a friendship of women, the likes of which I had not seen since Marvel's Daughters of the Dragon, with ex-cop Misty Knight and ronin Colleen Wing.

When Gorf left the Batman group to pursue a full-on writing career, the torch was passed to me to take over as Editor. It was bittersweet and exciting, and a heavy responsibility. Female representation of characters in any medium is, or should be, a heavy responsibility.

A few months after I became Editor, there was a creative team shake-up within the entire group of monthly Batman family titles, so suddenly I had to assemble a new art team. Gone was the crew of Greg Land, Drew Geraci and Brian Stelfreeze, most of whom moved over to "Nightwing."

I chose Butch Guice, now known for his work on books like "Winter Soldier" for Marvel Comics, but in those days he was more known for working on the Superman family of titles. Butch brought his best to "Birds of Prey," along with letterer Albert DeGuzman and colorist Gloria Vasquez.

During our time together, we did the historic meeting between Black Canary and Oracle. It was a tender moment, a culmination of all of the preceding stories, and the kick-off for a new level of friendship between the two characters.

My favorite issue, though, was "Birds of Prey" #15, in which Dinah tried to help an abused spouse who lived next door, and unfortunately failedbut she tried, and that was the point. That's when she became the most heroic to me, in-between any two periods of fantastic adventure...

After I left DC Comics, I didn't look back on how Dinah and Babs were doing. As an editor, I felt a territorial connection to the characters. I loved them and what they represented, and I didn't want to cling to memories.

I did happen to hear about a writer by the name of Gail Simone who had taken over the title and, in turn, excited the fan base. Gail's appointment made me give the characters a return visit for a while.

Fast forward a number of years later, specifically April 6, 2016, when I happened to be on Twitter and the buzz started. The character of Laurel Lance, the second Black Canary on The CW's "Arrow," was killed off the show.

I threw out a tweet, and connected with a large body of fans, fans of actress Katie Cassidy's portrayal of Black Canary, the hero she took three seasons to become, and the rest of her short fictional life to be.

I've seen fan outrage and collective sense of loss from various proximities to ground zero, but for the rest of that week, I had the view from the epicenter. Admittedly, I am behind on my viewing of "Arrow," and did not see the episode. I didn't need to, because I felt a connection to the character, regardless.

Having helped keep her legacy going in the comic books, I was thrilled when Laurel Lance became the Black Canary, and started the next phase of that heroic journey. Everyone who works to maintain characters contributes to the media translation of those characters. Creators, editors, businesspersons, fans, supportive retailers; an impressive village to raise a character from the two dimensions of a comic book page to the four dimensions of the screen.

For the rest of that week, I was a fan among fans. We exchanged comments, anecdotes, shared emotions without filters, and exposed ourselves to each other. This group to which we proudly belong, of fans, geeks, admirers, consumers... whether it was from childhood or a juncture point of import in our lives, we connected with these stories of heroes. Their masks and costumes and codenames, keys to a world beyond the mundane, of mysticism and time travel and fantastic madness.

The characters become our avatars, our fantasies, and/or our collective refuge.

Corporations count on fans to be a portion of their audience, their free marketing mechanisms confirmation of a job well done. They call comic book fans a vocal minority, but somehow they use the comic book convention circuit to promote their shows. They go to the places where the vocal minority congregates because they know that audience base impacts their endeavors.

On the other side of the equation, the caretakers enter a world full of praise and peril. Handling the legacy of comic book characters in television is a responsibility like no other. There are so many levels of people between our comic books and the television shows. It's not just the writer, Executive Producer, showrunner, etc., but those are the people we have the most access to via social media and the aforementioned conventions.

I don't think either party totally understands what's happening on the other party's side. Even with that, there must be a respect between parties.

As a fan of Black Canary, as a former caretaker of her, I can be upset about the character's death, upset about the decision to remove a beloved female character from the landscape, but I take refuge in two basic facts, facts which save me a hell of a lot of agita.

I don't own Black Canary. Despite the time I was fortunate enough to have helped Dinah Laurel Lance go from one life trial to the next, punching and kicking and defending all the way, she was never my character. Her caretakers do not need to have her actions follow a path I consider best, even when I'm right.

Sometimes, fans are right.

The second fact is that I have the ability to create the heroes I want to see, the ones I need to answer the questions I'm asking. I honestly think that every person has a creative side, and unfortunately most of them rarely, if ever, touch it, tap into it, find others, and create stories.

We have more access than ever to vehicles for our stories, advice from professionals in the form of interviews, scripts, YouTube, blogs and on and on. We have more access to each other than ever before, through social media and through the growing number of conventions at which we congregate. We know that fiction is our food. It enriches and informs us and simultaneously takes on the issues of our world while allowing us to escape.

The solution, the means to less agita and pain and disappointment and anger, is to deal with our connections to these characters we don't own, and then to create our own. New heroes, new stories, new vehicles through which to channel our feelings, hopes, and vision of a better world, or a different world, or a more relevant, resonant world.

Make what's missing. Make what you need. There is no better time than now, to create the kinds of characters you want to see.

Laurel Lance, the Black Canary, is dead. Which one of you will make the next Black Canary? Wouldn't that be fun.


Joseph Phillip Illidge is a public speaker on the subjects of race, comics and the corporate politics of diversity. In addition to his coverage by The New York Times, CNN Money, the BBC and Publishers Weekly, Joseph has been a speaker at John Jay College of Criminal Justice, Digital Book World's forum, Digitize Your Career: Marketing and Editing 2.0, Skidmore College, The School of Visual Arts, Purdue University, on the panel "Diversity in Comics: Race, Ethnicity, Gender and Sexual Orientation in American Comic Books" and at the Soho Gallery for Digital Art in New York City.

Joseph is the Head Writer for Verge Entertainment. Verge has developed an extensive library of intellectual properties for live-action and animated television and film, video games, graphic novels and web-based entertainment.

His graphic novel project, "The Ren," about the romance between a young musician from the South and a Harlem-born dancer in 1925, set against the backdrop of a crime war, will be published by First Second Books, a division of Macmillan.

Joseph's newest comic book project is the upcoming Scout Comics miniseries "Solarman," a revamp of a teenage superhero originally written by Stan Lee.

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TAGS:  the mission, arrow, black canary, dinah lance, dc comics, birds of prey, katie cassidy

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Marniel captures the Lanterns, but the motivation behind her actions is more disturbing than they realized. What did you think of the reveal in GREEN LANTERN CORPS: EDGE OF OBLIVION #4? by dccomics


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'Violence is a Symphony' to "Suicide Squad's" Joker, Says Jared Leto


via Comic Book Resources

When Warner Bros.' "Suicide Squad" hits theaters this summer, Jared Leto will bring the Joker back to the big screen. During an interview with Entertainment Weekly, Leto discussed how he developed his take on the Joker, David Ayer's "specific ideas" for the character's look and more.

"The Joker is fantastic because there are no rules," he shared. "The Joker operates from instinct."

RELATED: WATCH: Every Joker, Harley Quinn "Suicide Squad" Scene Released (So Far)

"To the Joker, violence is a symphony," he continued. "This is someone who gets an extreme reward from the act of violence and manipulation. Those are the songs he sings and he is very in tune with what makes people tick. I did meet with people that were experts, doctors, psychiatrists that dealt with psychopaths and people who had committed horrendous crimes, and then I spent some time with those people themselves, people who have been institutionalized for great periods of time."

"I think the Joker lives in between reality and another plane. Kind of a shaman in a way. It's a very intoxicating role to take on. You have permission to break rules and to challenge yourself and anyone around you in a really unique way," he shared. "For me, I knew once I had gone through the process of educating myself, I had to throw everything away and start from the beginning and really build this from the ground up. It was a transformative process. There was a physical transformation. There was a physical conditioning."

As to the Joker's infamous new look, Leto revealed, "[Director] David [Ayer] had some very specific ideas. As far as the look of the Joker, it was a collaborative process. There were things I brought to the table and things David brought to the table and it was a mashup of both of our sick and twisted minds. There were specific things that he liked and wanted and I was there to help bring them to life in the best way I could."

"You know, David was specific with tattoos. They were his idea but there was a lot to play with," he added.

"Suicide Squad," based on the DC Comics team and starring Jared Leto as the Joker, Margot Robbie as Harley Quinn, Will Smith as Deadshot, Jai Courtney as Captain Boomerang, Cara Delevingne as Enchantress, Adewale Akinnuoye-Agbaje as Killer Croc, Karen Fukuhara as Katana, Joel Kinnaman as Rick Flag, Jay Hernandez as El Diablo and Adam Beach as Slipknot, is scheduled for release on Aug. 5, 2016.

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TAGS:  jared leto, suicide squad movie, warner bros



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