But over the past two years I’ve dropped half the series I was collecting, and the others (the ones I liked) have been canceled. I’m down to one DCU series. (Again)

The New 52 DC universe no longer feels like the same DC universe I used to follow. The tone is off (though to be fair, it had been shifting ever since Identity Crisis), and it’s now just different enough to feel unfamiliar and off-putting, but not different enough to feel like another fictional world that I can enjoy on its own terms.

A few years back I came to the realization that a shared universe I knew well, like DC at the time, was a hook that would encourage me to try more comics set in that world, while one that I didn’t know so well, like Marvel, actually discouraged me from reading it. The Marvel books I read tend to be those that are either not the Marvel universe, or set off in a corner of it. Since the New 52, the same has been true of DC.

Previously posted as a comment on Reddit

I think my biggest disappointment with the New 52 is that they didn’t go far enough.

They had a chance to completely reinvent the DC Universe to an extent that we haven’t seen since the dawn of the Silver Age. Instead, we have the same basic characters: Superman is still Clark Kent, Batman is still Bruce Wayne, Wonder Woman is still Diana, Flash is still Barry Allen, Green Lantern is still Hal Jordan (and John Stewart, and Kyle Rayner, and Guy Gardner), etc.

They could have tried to recapture the sheer creativity that made the Silver Age such a success. (What if instead of a guy with a magic ring, we make him a space cop? What if instead of a small guy who’s really strong, he actually shrinks to microscopic size?) Instead, they tried to recapture the success of the post-Crisis DCU. That’s still ambitious, but it has nowhere near the same level of potential, and I think that’s thrown a wet blanket over the past two years.

But the New 52 seems to be this weird combination of top-down heavy-handed editorial mandate and throw-things-at-the-wall-and-see-what-sticks. The post-Crisis on Infinite Earths universe felt a lot more open and creative, like almost anything was possible.

Then again, I’m thinking of the first five years or so after COIE (before it accumulated enough complexity that they started doing things like Zero Hour and all the gimmicks we now think of as exemplifying the 1990s), and we’re only two years into the New 52, and I do remember there being a bit of a shakedown period — and I’ve had 20 years to forget the stuff that didn’t work in the late 1980s in favor of what did. So I could be seeing it through nostalgia-colored glasses.

Edited together from a pair of comments I originally posted on Reddit

I’m completely uninterested in the mainstream part of the DC Comics relaunch, but then DC’s been slowly killing off my interest, dismantling everything I liked about the DCU for the last several years, so it’s more of a final nail than anything else. I checked out Justice League #1, which basically confirmed my opinion. I’m going to give Flash another shot because (a) I hate letting go and (b) that art is just amazing.

On the plus side, some of the offbeat books look really interesting, and I plan on checking out Demon Knights, Frankenstein, Resurrection Man, and Justice League Dark.

Originally posted as a comment on Reddit

I’ve always considered myself a DC fan. I think it’s mainly that it’s where I got started, so I got invested in the DC Universe. That’s what’s familiar, while Marvel always seemed like I’d need to do a ton of research just to get started. (Not necessarily true, of course, that’s just how it seemed.) Most of the Marvel books I’ve read were either stand-alone or set off in their own corner of the universe (Alias, True Believers, Astonishing X-Men when Joss Whedon was writing it, etc.)

In short: the complexity of the universe I knew kept me in, and the complexity of the universe I didn’t know kept me out.

These days I still consider myself a DC fan, and I follow all the DC-related news and commentary, but I don’t actually read many of their books anymore. It’s down to one: The Flash. The rest of the line just doesn’t appeal to me anymore. But neither does Marvel’s. Actually, about half of my pull list is from BOOM! right now, with the rest of it scattered around DC/Vertigo, Dark Horse, Aspen, Image, etc.

Previously posted on Reddit

DC Comics has launched a digital comics program, starting with the iPad/iPhone and the Playstation network.

And by launched, I mean launched. As in, you can download the app and buy comics right now.

I’m really looking forward to the day when they expand this to more platforms (desktop PCs, Android and Windows–based tablets, etc) and start reaching into their back catalog. I’ve griped about the lack of Golden Age Flash reprints before, and the Bronze Age is also virtually invisible in reprints (though at least with comics from the 1970s and 1980s, you can usually find the back-issues at a reasonable price).

I haven’t had time to read all the interviews, but I’ll definitely be reading them tonight:

Jim Lee at Microphone at DC Editorial.With Jim Lee so heavily involved in this project, I can’t help but think of a moment at WonderCon this year. Saturday was the day of the iPad launch, and the Apple Store in San Francisco is just a few blocks from the convention center. Jim Lee was conspicuously missing from the DC Editorial panel. He showed up partway through the panel and stood in the Q&A line, where he planted a few questions…and then pulled out the brand-new iPad that he had stood in line for that morning!

Sadly, judging by ComiXology’s new releases, DC hasn’t brought Flash to the iPad just yet. But I’m sure it’s only a matter of time.

Update: Comics Alliance has another article I won’t have time to read just yet, on why this is a big deal.

Cross-posted at Speed Force

If you went out to the movies in the US during 2009, there’s a good chance you saw a turn-off-your-phone PSA in which a movie about “robots from space” tries to negotiate blowing up Mount Rushmore.

In a case of life imitating art, the National Park Service is currently battling Transformers 3 — a movie about robots from space — over just what they can and can’t do with a national monument!

Okay, you can’t blow up a national monument, but…

Bill Line, Park Service spokesman, said the producers “have asked to do some things that simply are not done on the National Mall,” among them staging a “car race” along the Mall’s gravel paths and flooding it with artificial light in order to shoot at night.

Apparently it’s not unique to Transformers 3, but a fairly frequent battle between the park service and film producers, which means Sprint’s video isn’t just a funny story, but a bit of an in-joke to those familiar with the industry.

Hmm, any chance the new movie will have a chorus singing “Robots from space!” in the background?

DC Comics recently canceled its Minx line of graphic novels aimed at teen girls, leading to much discussion amongst comics bloggers. I don’t want to talk about why the line folded, but why the line existed in the first place. Why did DC create an entirely new brand in order to go after this audience?

A big advantage to creating a new label: no preconceptions. Prospective readers won’t look at the cover, see a DC logo, and wonder where the super-heroes show up and rip off people’s arms. And they won’t see a Vertigo logo and assume that it’s a “mature readers” book. On the downside, a new label has to build its credibility from the ground up, instead of starting with name recognition.

This got me thinking: an established brand associated with customers of one gender creates a new brand in order to target the other half of the population. Where else have I seen this?

I own a jacket labeled Claiborne, which is of course made by the Liz Claiborne company.

Mervyns sells (or used to) H&H Men clothing, which was clearly a variation on their Hillard and Hanson brand.

All the examples I could think of (other than Minx itself) were companies that had traditionally been aimed at women, but were adding lines aimed at men. It made me wonder: is it the names? Do men feel odd buying a product named “Liz,” while women are used to buying brands named after both men and women? (Sara Lee notwithstanding.) Maybe it’s the stigma of a man participating in something perceived as feminine? Sort of like the assumption in children’s TV that boys will only watch shows about boys, while girls will watch shows about girls or boys (so they make shows about boys instead of girls, figuring they’ll get a bigger audience).

Then Katie pointed out LEGO Belville, the line aimed at girls which entirely misses the point of LEGO by making as much of each set prefab as possible. And pink. On the plus side, unlike Claiborne, Belville doesn’t try to hide the fact that it’s a LEGO product.

That makes it more like Men’s Vogue, a copy of which is sitting in the lunch room at work. In this case they’d have to call it something different (unlike a clothing line) because it’s not just a brand, but the title of the magazine.

I still think the craziest example of this has to be Men’s Pocky. It’s a cookie. One which I’d hardly consider a “girlie” cookie, but maybe it’s more associated with girls in Japan. I still can’t figure out whether it’s a case of cultural translation or deliberate absurdity.