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Augh I have to wait another month augh augh augh

I really like James Tynion IV. His recent apocalyptic tales, Memetic and Cognetic, were great and I absolutely LOVED his Batma/TMNT cross over series. I’ve got to say, I disagree with you that he is too wordy in Detective. I’ll have to have another browse through to be sure, but it didn’t strike me as a “wordy” comic. That said, I don’t have a problem with wordy comics so long as the words are good…. and I though the dialogue in this was very good, keeping me filled in on what I needed to know as well as giving me insight into the characters.

I think the artwork in this comic is brilliant. I too enjoyed the occasional painted portrait that seemed to pop up at emotive moments and really brought into focus thqat these “superheroes” are merely people beneath their cowls.

Batwoman is the star of the show for me. I’ve never read any Batwoman before, but this has really sold me on her. She has a fantastic costume design, and were I a villain of Gotham, I’d be a lot more scared of her than Brcuie, I reckon.

In short, I enjoyed this, I enjoyed the main Bat-title and I enjoyed Green Arrow. Looking forward to Snyder’s All-Star Batman. Well done DC. Thus far, the Rebirth is working well!

I disagree, I thought it was great. From beginning to end. And when Jon Kent started to fly off to help his dad against Doomsday. Classic.

Kyle – I think this fake Clark Kent is just a vehicle (maybe created by Mr. Oz?) to re-establish the secret identity for Superman. Tough to go forward in perpetuity with everyone knowing his secret identity.

About the possible Watchmen plot line: I personally don’t have a problem with using the characters (of course, how they ultimately end up getting used will be the deciding factor for me whether it was good or bad) because I don’t feel that the characters from Moore and Gibbons story are being affected by this one. I read Watchmen in 1988 as a sophomore in high school, I loved it and still do to this day. I’ve never wished for a sequel and I didn’t buy Before Watchmen (I saw the movie unfortunately) because that story works just fine by itself and it won’t be spoiled by crappy use of it’s characters elsewhere. For me, the use of the characters is either going to be cool or stupid in the Rebirth storyline.

Imagine that, corporate-owned superhero garbage is largely the same as it ever was. Will fanboys ever learn?

Well, given the plummeting sales, maybe they finally have.

Alex,
Not being snarky at all but can you explain what you mean by “house style”? Personally, I believe that comics from the Big 2 should have a somewhat consistent look ( if we’re on the same page with the term). Not a cookie cutter approach where everyone is drawing like Jim Lee but I grew up with Byrne on the X-Men while Perez was on the Avengers, Starlin, the Buscemas, etc… Using current artists, I prefer a Fabok or a Pelletier to be on DC books rather than the sketchier, cartoonier artists that I prefer on indie books or a book like Gotham Academy.

based on feedback from our customers, they are off to a very good start, each title had over 100 people adding the comics (all 5) to their reserve/hold. same performance as last week, DC is on to something here. these comics are getting a much stronger “word on the street” then the last batch of Marvel Now titles

“I prefer a Fabok or a Pelletier to be on DC books rather than the sketchier, cartoonier artists that I prefer on indie books or a book like Gotham Academy.”

Not every title has to appeal to your very limited, shallow tastes. But looking at DC’s poor output, that’s what they’re going for now.

Easy there, Brave Keyboard Warrior….

Hi Shawn,

I think we have the same understanding of the term “house style”– a look that, while not necessarily 100% homogeneous, has a large number of consistent features across all titles. May I ask why you prefer this look?

Personally, I dislike the idea that a large publishing company could ever have a house style because it leads to creative stagnancy across a large line. You can have stores that only sell bone broth or one kind of artisanal bagel because they’re small boutique outlets that target a small corner of the market. A company like DC or Marvel, who wants to and does capture the largest market share among comics publishers, is not a boutique brand. Paradoxically though, in DC’s case, they target the audience for house style books as though it’s the totality of the market rather than just one niche in a greater whole. Their strategy is what MacMillan’s would be like if they only published horror novels or Simon and Schuster acted like they were Harlequin.

I believe that the art style of a comic dictates its tone. I also believe that superheroes are not just a vehicle for action stories, but can be used to tell a variety of tales. Having a house style limits that possibility because personally, I don’t think a romance book with Jim Lee on art would fare as well as something drawn by Joelle Jones. Large publishers like DC and Marvel should and finally are diversifying their visual lineups to accommodate the fact that they are, in fact, large publishers with a wide variety of audience members who want to read different things.

We’re probably not too far apart in thinking, we may just be viewing it from opposite preferences. I like a house look probably because that is the way my brain is wired for superhero comics. Like I previously wrote, I was raised on John Byrne, George Perez, Frank Miller, John Buscema, Sal Buscema, John Romita Jr., and others who were popular (and doing regular work) from the late 70’s through the 80’s. Just using Marvel as an example, Peter Parker looked like Peter Parker in not only the Spider-Man titles, but also when he guest starred in other books. Depending on the artist, he can look different in his own book these days. For a while, Captain America’s costume looked different from book to book. Of course these are just personal preferences (which I’ve heard are “shallow and limited” lol) but they take me out of the story. I agree that the tone of a book is dictated by the art, I think that Neal Adams would me a bad fit on Invincible just as I agree Jim Lee wouldn’t be a good choice for a romance comic. And preferences change, as a kid I HATED Bill Sienkiewicz on the New Mutants but now I look at those issues and love them.
I appreciate your opinion and your willingness to have these conversations in the comments section helps make this sites one of the great ones.

I’m just glad to see The Flash drawn by someone named Carmine again!

Alex,
Janin is continuing with the series. He was named as part of the rotating art team with Finch when the series was first announced a few months ago.

Having not read any of the New 52 Superman, I actually enjoyed Superman: Rebirth. I found it quite moving.

How interesting! I haven’t been able to find hide or hair of that information, unfortunately. DC’s site only lists Finch in the first arc of issues and all the promo also only speaks to Finch. Do you have a source?

It was announced at WonderCon, http://comicsalliance.com/dc-rebirth-announcements-wondercon/
which was great news to me of course!

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Having completely dropped Marvel, I have high hopes for Rebirth. I was only buying Batman and Justice League a few months ago. I’m a Superman fan so I liked his issue. I didn’t particularly like the Green Lanterns book so it’s 3 likes and 1 meh for me.

“Yes, I read it as a pissing contest between two executives.”

“I’m not the only one who read it that way. Earlier today, I was talking to someone”

Wow, since two people have the same tin-foil-hat-wearing opinion, that must mean it’s true. And people wonder why comic readers are relentlessly mocked.

I read I and thought it was terrible. There’s way too much exposition and the assumption the reader cares about any of these characters..It’s just a big mess with a terrible shock-for-shock’s sake twist at the end.,

DC has just given up on attracting new readers. This book could never be recommended to a new reader wanting to check out the DC universe. Only the most die hard DC fans could begin to grasp what is going on in this issue. I guess DC is just content with trying to get back the old readers who are aging quickly. Other publishers will have to pick up the slack in order to keep our industry vibrant and growing……

I have to say, it may not be new reader friendly, but with the mess that the New 52 had become, I don’t think short of a complete reboot that there was anyway to fix this without acknowledging how messed up this had become. The one thing I like about Geoff Johns’s writing is that he is one of us, a comic reader. He writes the types of stories that he would want to read. I’ve very rarely been disappointed with a book from him.

I thought Rebirth was an excellent step in the right direction. I’m not sure that there is much open warfare amongst Didio and Johns as this article let on. Didio and Jim Lee for that matter, can’t argue with the fact that they messed up. Sales are at or below Pre-New 52 levels. Clearly they had done something horrifically wrong. Johns stepped up to right the ship.

Rebirth itself was very much an honest self critique of the state of DC Comics. We had a Superman that has no joy. An Oliver Queen with no Dinah. No Wally West, one of the best legacy heroes of all time. I feel like Johns is bringing back a lot of what fans were complaining about and what does he get? More complaining. It’s clear that Johns is going to be taking a more active role in cinema, but he said he spent a lot of time going over the concepts of all of the Rebirth books. I don’t know about you, but I don’t think Bob Harras is going to be at DC much longer at this rate. The way Johns described what he was doing is what an EiC does. I couldn’t think of anyone better to do that job than Geoff Johns. Hopefully DC sticks the landing this time.

Watching all the People Who Talk Loudly About Comics On The Internet pissing and moaning about DC publishing a comic saying exactly the same things that they’ve been saying for the last 25 fucking years has been *hilarious*.

Geoff Johns writes comics for people who are heavily invested in DC’s comics. It’s impenetrable for anyone else. I’m a comic nerd as much as the next person and was totally lost during most of the comic. All I knew were the bits he stole from Alan Moore, which kinda proves everything Moore ever said about DC correct.

I think there’s too much analysis in the “WHATS IT ALL MEAN?” rather than an actual examination of writing and art. I thought the writing was solid and the art was STELLAR. More comics in this vein would be a pro.

I also feel like its difficult to understand if you are trying to understand all of the past continuity. If you read the words its pretty clearly laid out that an evil force has been infecting the dc universe. Its when you try to apply a larger narrative of dc publishiñ that things get wonky. (also should who edited the comic be weighed in light of the review?)

The idea that Rebirth is an extended dig at Dan Didio never even occurred to me. Considering how bad a reading of Watchmen it puts forth, I saw it more as a dig at Alan Moore. I mean, if the New 52 was the “new life” Dr. Manhattan went off to create, but all he really did was grab the DC characters and twist their lives around… Isn’t that just a meta-fictional version of the fanboy argument that all Moore does is warp other people’s characters?

That Didio argument’s pretty entertaining, though. So thanks for that.

Amen to that, R.D. It certainly is a funny time to be alive.

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‘Do you really care about a book that’s been gone for several months?’

nope

my money is thin, i will not bother with a book that can’t stay on schedule. i used to say ‘oh, i will get it when its complete’ but to be totally honest, there’s enough going on that i rarely ever do anymore

Of course I’m getting this

Sadly, when a Marvel title is late and/or doesn’t ship in a particular month, readers generally have no idea if the title’s even coming back. For the last several years, Marvel’s policy has been not to inform readers of a cancellation, but rather to let the title die with no notice. A title misses a couple months, we don’t know it’s status. That makes it hard to get emotionally and financially invested in a title.

I tried to give this book a try, but the art gave me a headache. I like the style, I like the attempt at experimental layouts, but I just can’t look at it without cringing. Maybe it’s the coloring. I dunno. It’s like a sadist JH Williams.

And of course: the series is now cancelled, as part of DC’s “Rebirth” event.

Too bad! But it’s been reincarnated once since Wildstorm! Maybe Vertigo next? Orlando ‘ s accurate narrative portrayal and ACO’S edged lines and panel split action stretches are a sight to behold! The grit in the emotional structure of this series has been what held me.

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Who can afford comics that cost five dollars???!!!!

Four dollars!!!! Still,…..

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So is it accurate to say this comic is about a teenager for whom almost everyone he has ever known as well as billions of other people from the world he knew are dead and gone, and yet the comic is not at all about this truly extraordinary circumstance? Does he remember? Is he cripplingly traumatized? Or is he “over it”?

I know this isn’t a stumbling block for other readers, but I don’t think I could enjoy a book with this premise, even if I were in for a Bendis title.

No it’s a comic about a teenager that, thank to a good action, has seen himself and all the people he cared about saved and brought to this new world.

I didn’t have any hang ups about it. Nor did I find Miles (or Ganke) to be any different. I’m not sure how you can say his Dad is significantly changed when he had 4 panels of short dialogue. Just because his wife is no longer dead? Sounds like you’re rooting for victimization or believe that depth requires tragedy.

As far as the idea that he’s traumatized by circumstance, I think he’s had enough of that in his short history – dead Mom, dead then alive Peter, dead bad Uncle. He actually endured the destruction of his world in Secret Wars. To that end, Molecule Man ensured a proverbial happy ending for him.

Miles doesn’t have to mirror Peter’s tragedies to be Spider-Man. To wipe the slate clean and have him and his core family intact is refreshing. Maybe being a teen hero today will be enough of a challenge.

I passed on this. Miles Morales would be more intriguing to me if Marvel had created a new and different alter ego for him but a second a Spider-Man in the Marvel Universe continues to follow the “de-uniquing” of characters. If it works for other readers, that’s great but it’s not for me.