Change is a constant in comic books.
Costumes, codenames, writers, artists, even mission statements—they’re all subject to change as the industry marches on.
But in September 2011, DC Comics did something unprecedented by changing everything .
Well, almost.
We’ll get there, be patient.) and cancelled every one of their ongoing titles to replace them with all new number one issues set in a slightly different universe.
Such a drastic, linewide reboot was naturally met with some resistance, including from yours truly but what could not be denied was that DC had the comic book world talking.
A lot.
Costumes, codenames, writers, artists, even mission statements—they’re all subject to change as the industry marches on.
But in September 2011, DC Comics did something unprecedented by changing everything .
Well, almost.
We’ll get there, be patient.) and cancelled every one of their ongoing titles to replace them with all new number one issues set in a slightly different universe.
Such a drastic, linewide reboot was naturally met with some resistance, including from yours truly but what could not be denied was that DC had the comic book world talking.
A lot.
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Seriously, it was promoted like an international event.
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So what happened? In the alternate world tale of Flashpoint, Barry Allen—aka the Flash—inadvertently jacked up history by choosing to alter time and stop his mother’s murder. Smooth move, dude. Way to be a team player.
Anyway, for a still as of yet to be explained coherent reason, reality couldn’t be set back exactly the way it was and the post-Flashpoint DC Universe emerged with a slew of changes, some barely more than cosmetic tweaks, others drastic alterations. So, it was kind of like the collected surgeries of LaToya Jackson. Only less scary.
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Gaaahhhh! Look away! For God’s sake, look away!
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Batman and Green Lantern somehow escaped Flashpoint relatively unscathed, their monthly titles basically picking up right where the previous volumes ended despite the shiny new number ones on their covers, but over in Superman we not only got a new costume, but no marriage to Lois Lane, no employment at The Daily Planet and both Kents dead. That’s some depressing stuff right there.
Barbara Gordon, once paralyzed and transformed into a much more interesting and multifaceted character known as Oracle, was miraculously walking thanks to some horrid fanfic explanation—if you want to call it that—about a "cure" and was Batgirl once again. And remember the Justice Society? Well, nobody else does. Because they never existed.
Barbara Gordon, once paralyzed and transformed into a much more interesting and multifaceted character known as Oracle, was miraculously walking thanks to some horrid fanfic explanation—if you want to call it that—about a "cure" and was Batgirl once again. And remember the Justice Society? Well, nobody else does. Because they never existed.
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"But…but…we’re right here. Can’t you see us..?"
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So, DC is now very different, but the real questions are: Was it worth it? And is it any good?
The first question depends on how you gauge success and DC has had a great deal of commercial success since the reboot, the attention having brought them their best sales period in years. However, it’s tempered by the fact that, just as Marvel’s bread and butter continues to be the Avengers and X-Men franchises, DC’s top sales all involve the same characters and creators—namely Geoff Johns, Grant Morrison and the Batman and Green Lantern titles.
Of the 52 new books that came out, ten were canceled within a month and, based on sales charts, nearly a dozen more are circling the drain. DC has naturally focused on the continued strength of their top sellers (and of course events like the Before Watchmen minis), and that’s fine, but when nearly half your line is canceled or near cancelation in less than a year, that should be something of a red flag. And when creators are unafraid to publicly criticize the heavy hand of editorial, even at the risk of losing their jobs, then, well, something’s amiss behind the scenes, especially when it seems apparent that a lot of the post-Flashpoint ideas were more of an ad hoc thing as opposed to the company line of having been planned for years.
But still you have to give DC credit for not only having the massive King Kong sized balls to go through with it and, more importantly, stick with it, but also for at least trying to diversify the line with lesser known properties and characters. Some turned out surprisingly well, like Jeff Lemire’s Animal Man. Others like O.M.A.C., which was actually a ton of fun, lasted only eight issues.
And it says a lot about the comic industry and comic fans in general that the top sellers are almost always the usual suspects while some lesser known books, even great ones, get lost in the shuffle. When you dedicate over one quarter of your line to spinoffs based on Batman and Green Lantern and those sell like crazy, but over one quarter is dying on the vine, that’s something you need to address.
So, yeah, I guess you can say it was worth it in as much as it got people talking, got people excited, and boosted sales not only for DC but a rather reactionary Marvel. That’s great for the industry.
The first question depends on how you gauge success and DC has had a great deal of commercial success since the reboot, the attention having brought them their best sales period in years. However, it’s tempered by the fact that, just as Marvel’s bread and butter continues to be the Avengers and X-Men franchises, DC’s top sales all involve the same characters and creators—namely Geoff Johns, Grant Morrison and the Batman and Green Lantern titles.
Of the 52 new books that came out, ten were canceled within a month and, based on sales charts, nearly a dozen more are circling the drain. DC has naturally focused on the continued strength of their top sellers (and of course events like the Before Watchmen minis), and that’s fine, but when nearly half your line is canceled or near cancelation in less than a year, that should be something of a red flag. And when creators are unafraid to publicly criticize the heavy hand of editorial, even at the risk of losing their jobs, then, well, something’s amiss behind the scenes, especially when it seems apparent that a lot of the post-Flashpoint ideas were more of an ad hoc thing as opposed to the company line of having been planned for years.
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I’m just as shocked as you are, Blue Bettle, that your
book has somehow avoided cancelation… |
But still you have to give DC credit for not only having the massive King Kong sized balls to go through with it and, more importantly, stick with it, but also for at least trying to diversify the line with lesser known properties and characters. Some turned out surprisingly well, like Jeff Lemire’s Animal Man. Others like O.M.A.C., which was actually a ton of fun, lasted only eight issues.
And it says a lot about the comic industry and comic fans in general that the top sellers are almost always the usual suspects while some lesser known books, even great ones, get lost in the shuffle. When you dedicate over one quarter of your line to spinoffs based on Batman and Green Lantern and those sell like crazy, but over one quarter is dying on the vine, that’s something you need to address.
So, yeah, I guess you can say it was worth it in as much as it got people talking, got people excited, and boosted sales not only for DC but a rather reactionary Marvel. That’s great for the industry.
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Most people don’t realize that Rocky IV wasn’t about the Cold War;
It was about fierce competition in the comic book industry.
True story.
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And, to be honest, I buy about 35 of the DC monthlies, and there are some fantastic books out there. Green Lantern and Batman, obviously, are solid, but Animal Man and Swamp Thing have been nothing short of amazing. Wonder Woman continues to blow me away and Batwing has been a pleasant surprise.
But at some point, throwing out the baby with the bathwater and engaging in quick fix gimmicks and events to boost sales temporarily is something the Big Two are going to have to think about because with rising costs and “nothing will ever be the same” slogans becoming increasingly meaningless, it’s only a matter of time before the fanbase stops buying into the hype.
After all, when everything is special, nothing is special.
But at some point, throwing out the baby with the bathwater and engaging in quick fix gimmicks and events to boost sales temporarily is something the Big Two are going to have to think about because with rising costs and “nothing will ever be the same” slogans becoming increasingly meaningless, it’s only a matter of time before the fanbase stops buying into the hype.
After all, when everything is special, nothing is special.
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Sorry, Jimmy. Not even you.
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