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Who’s Who at DC Comics-The New 52: W. Haden Blackwell
THE SOURCE: How do you write the first line of a new series?
W. HADEN BLACKWELL: For us, the first line in the first issue of Batwoman was really driven by the desire to introduce a new villain immediately and set the tone for the entire first arc. We wrote in some placeholder dialogue, which we then revised after we had a strong first draft of the entire issue. As wit all the dialogue, we revisited it a few times, and made revisions after the first round of lettering- when we could finally see how it all fit together.
How do you introduce a new hero?
We hope that we were going to be both reintroducing Batwoman to fans, and also introducing her to new readers, so we do provide some recap to bring everyone up to speed. But it was more important for us to show how Batwoman’s past impacts her decisions, actions, and attitudes in the present. For example, we don’t dwell on the fact that she went to West Point or rehash her expulsion under “Don’t Ask, Don’t Tell” – that story has already been told – but you will see how her training as a soldier influences how she operates as Batwoman and relates to other “superheroes.” In terms of her actual entrance, we wanted it to be heroic, but also immediately set up the central conflict of arc one — it isn’t just a standard “let’s watch her beat up some bad guys to establish that she can” intro.
How do you introduce characters?
For me, it always comes down to trying to identify something unique — or at least interesting — about that character, and building a scene around that. On Batwoman, we’re also very interested in making sure each major character has her own mission as well, which we try to establish as early as possible. The ways in which these missions conflict or complement Batwoman’s own create a lot of interesting dynamics.
How do you introduce a new villain?
It all depends on the villain, I think. With the Weeping Woman, who is introduced in the first issue of Batwoman, I had a lot of goals… I wanted her to be somewhat enigmatic with the possibility of even being sympathetic on some level, but also clearly frightening and monstrous. I also really wanted to be true to the legends that inspired the character, establish right away why she is a threat to Gotham, and suggest some of her powers. So, we approached it from the standpoint of a witness statement from someone who has been victimized by the Weeping Woman and can describe first hand what it is like to see her, be in her grasp, and hear her speak.
What was the first comic you ever worked on?
As a teenager, I did a self-published one-shot with a friend about a group of superheroes trying to survive in a post-apocalyptic world. My first “professional” work was a short story for Star Wars Tales about an alien space pirate.
Who was the first character you followed?
A tie between Swamp Thing, Firestorm, and Green Arrow — I tried to buy everything they appeared in.
What was the first series you collected?
Swamp Thing. I remember traveling to every comic book shop in Southern California trying to find as many issues back issues as I could. I think I have at least two full sets of the original series. I’m only missing a first printing of House of Secrets #92.
Who was the first writer you followed?
Probably a tie between Len Wein and Steve Gerber, both guys who wrote stories about swamp monsters…
Who was the first artist you followed?
Hands down, Bernie Wrightson. I really credit him with getting me to read comics, although I first saw his work in Stephen King’s Cycle of the Werewolf. There are some images in that book that I will never forget – a werewolf stalking after a boy while clutching the string of that kid’s kite, a werewolf embracing a lonely, middle-aged woman, a severed pig’s head on a post… I sought out everything he had done previously, which led me to Swamp Thing. And I still wish that someone would do a proper film version of Frankenstein based on his illustrations — I think it’s the most disturbing yet sympathetic version of the Monster imaginable.
What was the first convention you attended as a fan?
Various small conventions in Los Angeles, mostly in search of back issues.
What was the first convention you attended as a professional?
SDCC, to appear on a Star Wars panel.
What was the first comic book you read?
A weirdly oversized Howard the Duck that had three or four stories in it, including one where he fights a vampire cow. I still have it on my bookshelf.
What was the first piece of original art you bought?
A rejected cover sketch for an issue of Star Wars Republic by Tomas Giorello, which he was kind enough to ink for me as well.
What was the first digital comic book you downloaded?
In general, I still prefer my weekly trip to the comic book shop, but I have been checking out a lot of motion comics lately to see how they handle creating a sense of movement and integrate audio — specifically, the voice acting, which really makes or breaks a motion comic for me.
On your creative process:
When writing any story, I try to start with a one-liner, or even short description of a character arc, that interests me. For a comic book arc, I’ll then turn that into a very detailed outline akin to a film treatment. Next, I do a very quick breakdown of the individual issues, estimating the number of pages required for each scene, just to make sure everything is going to fit comfortably and that I’m taking advantage of even page reveals whenever possible. This becomes my rough skeleton, though I usually throw out big chunks of it when I actually start writing and new (and hopefully better) ideas surface. When I write a first draft, I try to avoid getting bogged down in detailed descriptions or polishing dialogue until it’s “just right,” because I rarely know exactly what needs to be shown and said in every panel until I get to the end of an issue. I do sometimes write some scenes multiple times, though, to try out different ideas, perspectives, or hooks. After I barrel through the first draft, the next revision focuses largely on all the description I think is necessary; then I do at least two dialogue passes, not reading or touching anything but the dialogue. And finally a polish looking for typos or any dialogue that really calls attention to itself (which I hate). Working with Jim on Batwoman has been a similar process. The biggest difference is that we need to be a little more rigid about how many pages we devote to each scene because we are following some rigorous design principles — every first and last page is always three panels, and every scene with Batwoman is a two-page spread. After we get the breakdown done, we divvy up the first draft, lobbying for first crack at the scenes that interest us the most (and if neither of us wants to write a scene, we know that there’s something wrong with just the idea of the scene…). Then we swap our scripts and suggest revisions to one another, and usually end up on the phone for editing sessions where we read and reread the dialogue together.
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Justice League Dark Lineup and Character Designs
DC provided us with this exclusive image from artist Janin, showing the complete lineup, and their costume designs for the series. Click the image to get a bigger look.
via ifanboyComment
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Who’s Who at DC Comics-The New 52: JH Williams III
THE SOURCE: How do you write the first line of a new series?
JH WILLIAMS: It can be tough. You want the first line to grab, but it can’t be overloaded with information either. You want to set a tone, but also lead the reader into the story with ease, not overwhelm too much. It’s a very fine line to walk. But the goal is to write a simple captivating line that has weight and meaning, but it’s full understanding requires you to read the next line, and then the next, and so on. This concern occurs when writing prose work as well.
How do you draw a first panel of a first issue?
For me, first panels of a story need to function much in the same way as what I say about the first written line. I like to place focus on something in a way that when you first look at it, you don’t know what the context is, or it raises questions as to what is happening. By doing this, you provoke the reader to want to learn more.
How do you introduce a new hero?
The goal for any new protagonist in a new story is to get at what makes them tick within the first chapter or issue. But to do so in a form that doesn’t give away all there is to know about them. If a first appearance gives away everything about the lead character, then you’ve created an information bust, and the reader isn’t going to be as compelled to return. You have to keep some mystery, or use complicated motivations for the character’s behavior or actions.
How do you introduce characters?
I find that the best way to introduce new characters into a story is to try finding high points in the plot that could relate to them, giving them a key moment to present themselves. Another way is by use of a scene that defines the new character’s motivations or mission in the story. Sometimes it can seen through the eyes of another character, and if done properly you briefly learn something about 2 characters at the same time.
How do you draw a first appearance?
This relates to how the character is introduced within the written plot. If the plot is showing the character at a relevant point, or at a high point, its easy to set the character within that visually. The scene informing how dynamic or emotionally positioned the character is visually. What does the scene mean to this particular character can inform how to handle them visually.
How do you introduce a new villain?
Villain introduction for me, works best if its revealed at a high point of tension, either related or unrelated to the scene at hand. A villain’s first scene should also always leave questions to the reader on what is their deeper motivations.
What was the first comic you ever worked on?
I believe my first professional paying job was when I was 15 or 16. I did 2 pin-ups for something called Alternate Existence. It was very independently produced. And I was certainly not very good then ;-)
Who was the first character you followed?
Spider-Man, Batman, Kamandi, Micronauts.
Who was the first writer you followed?
Bill Mantlo.
Who was the first artist you followed?
Michael Golden.
What was the first convention you attended as a fan?
Probably some small local one in the Bay Area, California.
What was the first convention you attended as a professional?
San Diego Comic Con.
What was your first job in the comic book industry?
My first full issue for a major publisher was a fill-in for Milestone’s Blood Syndicate, which came out okay. Before that I did things like Twilight Zone, Hero Alliance, Demonic Toys, none of it very good, my work on those is pretty unrecognizable to what I do now.
What was the first piece of original art you bought?
I’ve always shied away from buying original art, because I was afraid I’d lose my mind and spend too much money I didn’t really have. So I stayed away from it for a very long time. Until I finally met Michael Golden a few years ago, we actually shared booth space at a couple cons. Of course I drooled unsavorily over his original art for sale. But couldn’t bring my self to make a purchase. I fretted over it so much that I was telling Grant (Morrison) about it, he said I had to have it, as a totem piece for my artistic soul. The piece I kept eyeing all show was a cover to World’s Greatest Comics Magazine: Fantastic Four. I remember having to go off for a panel or something for an hour or so. As I approached the booth, Bruce Timm, another booth mate who sat next to me and my wife Wendy, plops that cover art down on the table saying, “Hey, look what Michael just gave me!” I think my voice rapidly hit 4 octaves higher. I went on and on “HE GAVE THAT YOU?!!” I kept repeating that, I was so thrown off I really wasn’t able to say anything else. It had to be at least a minute thirty seconds but felt like forever, before Bruce finally says “Wendy, I can’t do it anymore, the poor guy is losing it! Jim, look at the bottom of the cover.” And there in bold black ink, causing me to squeal loudly “NO WAY!”, like a kid, it was signed with a personal note from Michael, to me. I literally got weak in the knees, I was shaking. I think that was my geekiest moment ever. So while I was away from the booth, Wendy, the sneak that she can be, bought the art for me, knowing how much Michael’s work meant to me. She managed to pull Bruce into her scheming, I’m sure they found it quite amusing watching me squirm! But I love them to death for it! When growing up, if I had never been exposed to Michael Golden’s art back then, I don’t think I’d be a comics creator today. So its all his fault, hah! I proudly look at it everyday hanging framed in my studio.
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thought you guys would get a kick out of this, its one of Jim Lee's rejected Action Comics #1 variant covers, the official one that was shown was only a sketch, but I found this on Deviant Art
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That looks great. I still haven't warmed up to the costume, but we'll see how long that stays anyway.Comment
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all those useless lines...smhComment
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DC Comics Co-Publisher Dan DiDio Gives Slight Continuity Updates
What follows below are comments from DC Co-Publisher Dan DiDio via his Facebook page. He comments on Green Lantern/Green Arrow continuity and Connor Hawke, and hints at future Showcases and a bit more.
Originally posted by When asked if the Green Lantern/Green Arrow "Hard Traveling Heroes" adventures are still in continuity
Originally posted by Responding to a fan's need to see Connor HawkeOriginally posted by Responding to fan's praise for solicited Superman: The Secrets of the Fortress of Solitude
Originally posted by On if any old Nightwing stories can be made availableOriginally posted by On when Grant Morrison's Flex Mentallo Reprint will be releasedOriginally posted by On if Lex Luthor was ever President in the new DCU continuityComment
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How old are Ollie and Batman supposed to be?
Are we to assume now that Dick Grayson was never Robin as a child? Cause that would age Bats as well. This would mean that Dick went from being Robin to Nightwing to Batman and back to Nightwing in the span of like a year?I LOVE conspiracy theorists. They are like human versions of the cymbal clapping, dancing monkeys. No one takes them all that seriously and they get bored with them after about 10 minutes.Comment
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i would imagine bruce is older than ollie.
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Bruce will have to be sifnificantly older than Ollie, Hal, Superman and the rest of the league. Which is my biggest gripe about the relaunch, even moreso than Wally West, Connor Hawke or Tempest being Missing in Action.Comment
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Who’s Who at DC Comics-The New 52: Kyle Higgins
THE SOURCE: How do you write the first line of a new series?
KYLE HIGGINS: With confidence. By the time I’m in the scripting phase, I know what the series is about—I know, thematically, what I want to explore and put my characters through. So, as far as opening lines (or even opening pages for that matter), I usually try to lay out what the point of the book is going to be… without hitting readers over the head with it.
How do you introduce a new hero?
If I can, with a massive double page spread! From Nightwing 1:
PAGE 2-3
Nightwing, falling/swinging right at us– it’s a big hero shot. As the first image of Nightwing in the new DCU, think of this as the poster shot– it needs to redefine him for everyone.
Buildings rise to sickening heights behind him, giving us a sense of vertigo as we look up. Let’s get some water towers in here, too. Also, this section of Gotham should be rather affluent– it should NOT be decrepit or worn down. Even if the architecture is “classic” Gotham, the neighborhood is well-to-do.
How do you introduce characters?
I know it’s “writing 101” for characters to have memorable introductions, but it’s the truth. Snappy lines, an unexpected action, or an inversion on a plot stereotype are some of my favorites.
How do you introduce a new villain?
You have to show why they’re terrifying and why they’re going to be worth reading about—why they’re worth our hero’s time.
What was the first comic you ever worked on?
Captain America Theater of War: Prisoners of Duty (2009)
Who was the first character you followed?
It’s a toss up between Spider-Man and Batman.
What was the first series you collected?
I tried collecting Spider-Man during the clone saga (and beyond), but with how much the story bounced around from title to title, it was tough. It wasn’t until Nightwing that I followed a book every month.
Who was the first writer you followed?
Chuck Dixon.
What was the first convention you attended as a professional?
I’ve had a few years where it was grey area—I was technically attending Comic Con and C2E2 in 2010 as a “Pro” because I’d written two comics for Marvel (one of which hadn’t even come out yet) but it wasn’t until C2E2 this year (2011) that I had work being announced and I was speaking on a few panels.
What was the first comic book you read?
The first I can remember is The Flash 80 … by Waid and ‘Ringo.
What was the first piece of original art you bought?
Still haven’t bought one! I’m gunning for some Eddy Barrows and Joe Bennet originals though…Comment
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Who’s Who at DC Comics-The New 52: Paul Jenkins
THE SOURCE: How do you write the first line of a new series?
PAUL JENKINS: They take many forms but I feel you have to commit early to a theme that may run through the entire series. Somewhere in the first moments of any series, I feel, you should try to give your audience a sense of what themes you’re going to explore, and a sense of the style you’re going to use.
How do you introduce a new hero?
First of all, make sure there is a VERY GOOD reason for that person to exist on the page. A reworking of a rehash is convenient but ultimately unsatisfying. If you cannot easily describe who this person is and why they deserve ink, then they are not worth writing about.
How do you introduce characters?
Characters can be in for a variety of reasons: to further the plot, to provide exposition, to act as cannon fodder, etc. They have to feel natural, and not forced. I often think that is an instinctive thing.
How do you introduce a new villain?
This is a part of my college lecture: The only villains worth doing are the ones we can still relate to. If you listen to what they say, or can understand why they do what they do, they are worth including in a story. That’s not to say we agree with their methods but on occasion we can understand their motivations.
What was the first comic you ever worked on?
That is a long-standing secret. I’ve often challenged readers to try and track it down. Hint: it’s not the first TMNT issue I wrote.
Who was the first character you followed?
I grew up in Britain. Our comics are very different. I think the first American character I liked a lot was Spider-Man. Since I lived as a country kid on a farm I assumed he was from London.
What was the first series you collected?
I used to buy these really odd reprints of the old EC Comics – they really made an impression on me, and as a little kid I fell in love with science fiction and fantasy comics. I also collected these very violent little digest-sized war comics that we used to buy at the beach when we were on holiday. The heroes would always kill ten thousand Nazi soldiers with one burst of their Tommy gun!
Who was the first writer you followed?
Alan Moore. No surprise there.
Who was the first artist you followed?
Brian Bolland. Another 2000 AD mainstay from the late seventies.
What was the first convention you attended as a professional?
Probably some Northeastern show or other in the late 80′s. At the time I had begun working for Mirage Studios, and we’d go to lots of smaller shows.
What was the first comic book you read?
The Beano, probably. It’s a British thing.
What was your first job in the comic book industry?
I came to the States in 1987 and began working for the TMNT in late 1988. It was a wild time… I remember shiploads of toys in the toy cupboard, and hundreds of licensing contracts piled upon each other in stacks. Such a crazy time… I was 22!
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is that suppose to be two face in the batman art?Comment
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