“I’m BEYOND excited to announce these new titles at Emerald City Comic Con,” said Bendis in a press release. “The show has always stayed true to its comics roots and that makes it a perfect place to talk anything Jinxworld, especially new titles I’m working on with creators like Michael and David whom I value and respect so highly.”
Bendis will join with two artists he’s very familiar with on the new comics, titled Pearl and Cover.
Bendis takes over all the Supermans as Jinxworld moves to DC and a “curated” imprint from the writer looms.
Former Marvel stalwart Brian Michael Bendis’ first work for DC will be on Action Comics #1000, but it won’t be his last opportunity to tug on Superman’s cape.
DC Comics has announced the writer’s plans at his new home, which includes a whole lot of Superman, the return of his Jinxworld books and a brand-new “curated” imprint. They’ll also release a 25-cent sampler, called DC Nation #0, spotlighting not only Bendis’ work but that of his fellow writers Tom King and Scott Snyder.
Milestone issue will include new stories by Brian Michael Bendis, Jim Lee, Curt Swan, Marv Wolfman, Paul Dini, Brad Meltzer, John Cassaday, Scott Snyder and more.
The world returns to sanity again in April with the landmark Action Comics #1000, which features a slew of creators telling tales about Superman and, more importantly, the return of his famous red trunks.
Debuting in Action Comics #1 way back in 1938, the red trunks helped Clark Kent’s alter-ego fight for truth, justice and the American way for almost a century — that is, until the launch of the New 52 in 2010. Dc co-publisher Jim Lee redesigned many DC characters at the time, including Superman — and the new, super-hip redesign had no room for outside undies or his classic red boots. The move was controversial, just like any change to the status quo in superhero comics, and eventually spawned petitions from fans to return to the classic look. Now it looks like those voices have finally been heard by DC.
“Action Comics #1000 represents a watershed moment in the history of not just comic books, but entertainment, literature and pop culture,” said Lee. “There’s no better way to celebrate Superman’s enduring popularity than to give him a look that combines some new accents with the most iconic feature of his classic design.”
Right off the bat, I think Bendis is a terrible Dungeon Master.
For those of you who have played D&D or other cooperative role-playing games, you know how hard it can be for the person running your characters through their adventures and that some of those people fall into the horrible pitfalls of being bad at planning a story. There’s one particular pitfall I like to call the Firm Boot of the DM, for when the story needs you to go somewhere and doesn’t care if you want to or not. Say there’s a wizard giving you a quest for no other reason than exactly that. Here’s your quest, go on and go adventure. You, as a player, may have questions or concerns or want some motivations from that wizard, but nope! Wizard is wise and unknowable and invincible so don’t start any fights with him, just take your quest and go. There’s always some larger war that wizard has to fight or some terrible burden he must carry, so don’t expect this Wizard to help you, just leave him alone to do some other grander thing and figure what to do next by yourself.
At least Doom gives Iron Man a next plot point to get to.
I have a love-hate relationship with the comic works of Brian Michael Bendis. Wait, that’s too strong a sentiment; I have a like-meh relationship with his comics.
On one hand, Bendis is a well-respected, intelligent author who has reformed a lot of how comics are being written these days, done a few landmark runs with Marvel characters and has pretty much set the tone for the Marvel Cinematic Universe. On the other hand, reading his books gets redundant, feels like you are going nowhere and doing nothing, and is choc-a-bloc with blithe dialogue that feels less like impassioned superhero speech than something overheard by a Starbucks barista. They can be a slog to get through at times, because they rarely feel like there’s going to be a payoff at the end of the storyline. Jonathan Hickman can be a similar slog, but at least by the end of the Fantastic Four run, for example, you’ve seen characters grow, change and come out the other side as new people. Bendis just feels like he puts the pieces back too carefully or breaks them irrevocably.