Does DC Stand for “DiDio is a Crackhead”?

Nov-18-08

Jason and I, when we discussed reviewing comics, mentioned that it was important to us that we critique the work, not the people who created the work. I may not enjoy a comic that Rob Liefeld pencilled, but I don’t know him as a man, so who am I to attack him personally? However, if one looks at the title for this entry, it may seem that I’m here to lob personal attacks on Dan DiDio, who is the Senior Vice President and Executive Editor of the DC Universe. I don’t want to make personal attacks against DiDio, who may be a nice guy, but the decisions he often makes certainly lead me to wonder if he does not, in fact, use drugs. I certainly can’t come up with another reason for many of the things he has done.

DiDio has earned the wrath of DC Universe fans for some time now, and many people point to him as the reason that DC comics are no longer considered (by some) to be of the high quality we enjoyed in the past. I normally resist looking at easy solutions or placing the blame for anything all on the shoulder’s of one person, but it must be said that, as the Executive Editor and overseer of DC’s entire output, he must acknowledge some of the blame for the perceived dip in the DC line.

Jason and I spend more time talking about Marvel than DC, and part of that is because Jason is more of a Marvel fan. I started out as a Marvel fan, but fell into DC Comics in the late 80s-early 90s and discovered that they published some amazing stories. By the late 90s, I was reading many more DC books than I was Marvel books. Sadly, my love affair with DC began to end shortly after DiDio joined the company in 2002 (as DC Universe Vice President-Editorial). It was less than two years after DiDio became a staff member at DC that Identity Crisis was published, which I have long viewed as the point where the DC Universe became darker than I enjoyed. Rape, murder and unheroic activities seemed to invade the stories of these beloved icons with increasing regularity, and while an occasional story that hits a dark point is fine, when they seem to be the norm across the entire line of comics, I begin to back off. I have been backing off more and more over the ensuing years, even dropping titles I once loved like JSA and JLA. The frustration that I feel towards the current direction of the DCU is another reason that we don’t discuss DC that much.

DiDio has continued to steer the DC line into darker and choppier waters, all the while often uttering comments which draw down much fan ire. I personally had a friend who was ready to drive to New York and stuff DiDio in a refrigerator when he said that he didn’t see the point to Nightwing and wanted to kill him off. He has supposedly been responsible for the deaths of numerous DC Universe characters, and whether their deaths were his decision or not, he certainly had to sign off on them.

However, news today tops all of these stories, as it seems that DiDio has been fighting with two of his hottest writers. Apparently, DiDio and James Robinson, acclaimed writer of Starman and The Golden Age who just recently returned to comics to write some Superman stories, had an argument with DiDio, and quit the books, and apparently the entire DCU. Even more spectacular, DiDio apparently argued with Grant Morrison about the ending to Final Crisis, demanding rewrites, leading Morrison to say he’ll not work with DC again in the future either.

Obviously, there is likely more to both of these stories than we know, and will probably ever know, but the question before us now is how DiDio could let this happen? Is it good business to allow these writers to slip away from DC? I have some points to make, and can even offer some arguments in DiDio’s favor, but I’m curious to hear what Jason has to say first.

One could make the argument that the current path that DC Comics is traveling down was not mapped out by Dan DiDio, but it’s one that he feels helpless to diverge from. Of course, one would be totally stupid to think that. The stuff with character deaths is questionable, since we all know that superheroes come and go with no sense of boundaries when it comes to life and death. Horrible things happen to these characters in an attempt to show that they are strong and can overcome all obstacles. A quick perusal of the Women in Refrigerators page shows you all you need to know about how people are treated in superhero comics.

Not being as avid a DC fan as some, I could also begin a convincing debate about the need to inject a spark into the universe. The stories of the past few decades, for the most part, have been boring and forgettable. The characters are flat and have no true sense of themselves, no depth, no meaning. I guess that’s why I feel that Identity Crisis wasn’t a completely off-base idea. That’s not to say the actual plot and follow-through were done with any sort of class or purpose. Providing a rallying point for the hero community was important. Making that rallying point the rape and subsequent murder of a hero’s wife was disturbing, to say the least.

You know how certain parts of the world are always a bit behind the times? It takes longer for popular culture to hit the shores or technology doesn’t advance as quickly in some corners? Well, in my eyes, DC is like the Eastern Europe to Marvel’s USA and Japan. Everything is either a cheap knock-off, produced to score some immediate rewards, or it’s the real thing…only about a dozen years after the “real thing” has lost its impact.

What I mean to say is, DC seems to be stuck in the gritty back alleys of the late 80s and early 90s. Everything is done for shock value. Everything is dark and unrepentant. Everything is selfish. It’s all built on vigilante justice and an eye-for-an-eye mentality.

DiDio isn’t responsible for that first woman stuffed in a refrigerator, but he is guilty of perpetuating that ideal. “Hey, that was a stunner, huh? Let’s do it again and again and again until our readers become first completely desensitized by the violence and then just flat out tired of it!” Anger for the sake of anger is boring. Seething just to hear yourself seethe is sad. And unproductive.

Dan DiDio didn’t break the pattern, therefore, it continues unabated. Fresh ideas are offered, only to dwindle off before realizing their full potential (see, for example, 52, Countdown, World War III, One Year Later, Infinite Crisis, Trinity and Final Crisis…to name a few). The biggest misstep had to be the whole One Year Later debacle. I owned my comic book store during that slash-and-burn period. We were told that all these crazy things were going to develop. We’ll all be shocked by stuff! A new Aquaman! A new Blue Beetle! A new Freedom Fighters! A new Atom! Oooh! You know what I remember from that period? Ollie Queen became Mayor of Star City. That’s it. And even that was uneventful.

Sure, there were Previews listings with parts of covers obscured and mixing and matching of some teams, but in the end nothing changed. In fact, they never even really explained the OYL thing…it just ceased to be (like Bart Allen). And that wasn’t all. The timing of the event was so ridiculous. I don’t recall if it was supposed to coincide with 52 or happen afterwards or whatever, but reading 52 just confused things further. And don’t get me started on all the dangling plotlines that 52 offered up and then never resolved (just how the hell did Hawkgirl get back down to normal size? When did Firestorm and Cyborg get disconnected from each other? And where is Alan Scott’s other eye?). I was actually enjoying a lot of DC titles right before all of this happened. In fact, I had soured on Marvel’s youth movement and was gravitating almost solely towards DC. Nowadays, aside from Vertigo, I read one DC title (Secret Six) and it’s currently on Death Row with little chance of reprieve. The DC universe means nothing to me anymore.

But enough about me. Let’s talk about all the near-public fallouts between DC management and their creators. We all know that Alan Moore has already stated that he won’t work with DC again. Not too long ago, Chuck Dixon was unceremoniously dropped from his writing duties. And now both Robinson and Morrison have had disruptive conversations with Mr. DiDio. You’re right in concluding that we can’t make complete judgments on these events without more information, but we can certainly speculate!

Is there a “Big Picture” that DiDio has in mind? I know he can’t reveal it without spoiling the plots of many titles and the development of many characters, but the general flailing about that seems to be dominating DC’s stable does not instill confidence. Morrison seems to have had a large hand in recreating and directing things for the past two or three years now. His influence is felt in nearly every title. But were all of his ideas home runs? Not by a longshot. And we can discuss that further later on in the week.

Same goes for Robinson. Here’s a favorite creator who put together a great run of comics, playing in a nearly forgotten corner of DC’s world with near autonomy. That autonomy helped him guide his characters and create a coherent vision. But that same autonomy may have colored his view of how things are done in the larger sandbox of licensed characters whose histories are written out on the sides of lunchboxes and within the confines of Saturday morning cartoons.

Who’s at fault? I certainly don’t know for sure. I’m not friends with Mr. Morrison. I’ve never shared a conversation with Mr. Robinson. I can attest to neither their characters nor their temperaments. To the same extent, I do not know Mr. DiDio. However, past practice would demonstrate that the decisions made by the editorial department have not always inspired, let alone made sense.

Wow. That suddenly sounded very academic of me. I apologize. Now I feel like I need to let loose with a stream of obscenities and snarky, back-handed insults. Blah.

Did anything I just say make any sense to anyone?

I think what you said made a lot of sense, and you’re absolutely right when you say that the dust-ups with Morrison and Robinson may have been a case of finicky creative types and not DiDio’s fault. Of course, if he’s had problems with three creators (counting Dixon) in the recent past (all three of whom have successfully worked with other editors on long term projects) it does begin to look a little worse for DiDio.

Perhaps DiDio felt that losing these creators was worth it. Chuck Dixon has always been a solid writer, but never a fan favorite, so perhaps DiDio thought Dixon wouldn’t be missed. I believe that Morrison had said he was going to leave comics, either for good or for a nice long rest, after Final Crisis, so perhaps DiDio figured he had nothing to lose by going toe to toe with him. And Robinson did leave comics for years after he wrapped Starman; perhaps DiDio thought that Robinson would leave again. But even if DiDio believed all of the arguments I’ve laid out here, it still seems poor business sense to drive off top talent in this way. Dixon may not have made Wizard’s Top Ten Writer Lists (and he very well may have at some point), but he always was on time, and his books sold in the middle tier of titles at the very least. Morrison may have decided not to leave comics, or to only take a short break, and Robinson may have been back for the long haul. And even if none of those statements are true, breaks with creative talent like these seem to be a bad idea, since you also are sending a message to all of your other talent; a message that you’re not open to new or different ideas, and that you don’t play well with others.

In the end, my concern is that DC seems to be spiraling into a black hole of continuity. Most of their titles have become so bogged down in continuity that a reader has to be a long time fan to be able to understand them. It seems like they’re now writing only to the same, hardcore audience that has been buying their titles for the past twenty years. Perhaps this isn’t a bad strategy. After all, that hardcore audience is the vast majority of the people buying their product. But I can’t help but think that no one new will be drawn into the DC Universe by the stories currently gracing the pages of their comics line. I can’t help thinking that DiDio seems to be forcing his creative vision onto the pages of the DCU, and that his vision is somewhat lacking, and very short term.

Short term? We wish! This “overhaul” has dragged on for nearly four years now, slogging through special series after special series, with entire worlds reborn and left undeveloped. When will it all end (or at least start making sense)?

Cutting ties (or having them cut) with Morrison and Robinson definitely sends a message to the other creators and it’s not a very pretty one. DiDio is basically saying “my way or the highway.” and if he won’t kowtow to even the fans’ favorite writers, then what does that mean for the day-to-day, in the trenches people?

It’s not like Morrison needs DC. I’m sure he’ll be more than happy to sit at home in his immaculate suits with his feet up on his pagan ritual dais and collect his royalty checks. There are very few writers these days who are able to not only write a good superhero yarn, but are also able to look ahead, deconstruct the genre and offer insights into how new technology, new social mores and new political developments will affect stories. Morrison has that kind of acid-tripped outlook. Even if you don’t understand all of his work, you can’t deny that it’s filled with obscure notions, intelligent details and far-reaching revelations. To disconnect that free-flowing font of creativity from DC is foolish at best, and flat out depressing at worst.

Robinson is someone who has proven he can make miracles out of tidbits. His characters are strong. His stories are rooted in pragmatic solutions. And his dialogue has a natural tone that’s pretty rare in today’s stammering, overwrought world of superheroes (I’m looking at you, Bendis). Again, removing someone from the process who is able to put the pieces together calmly and effectively is the same as trying to perform brain surgery blindfolded with live chickens tied to your hands. Why would you even try? And who are you trying to fool?

You’re right to think that DC is cutting off its nose to spite its aging fanboy base’s face. The biggest reason for my ambivalence towards DC is the density of its continuity. They offer nothing for someone who just wants to be entertained. Reading a DC title is the same experience as subscribing to the Wall Street Journal if you don’t care about government policy or investment profiles. It’s a taxing and humiliating process that either makes you feel incompetent or annoyed. Not much incentive to keep doing it, huh?

Booting the very people who offer new ideas to experiment with or a new direction to explore is isolationist, and we all know how well isolated countries thrive. That is to say, not at all. DC, in its current state, is a dying breed…an exhausted, lumbering elephant just looking for a place to collapse and be picked apart by vultures and poachers.

Jeez, that was a bit over the top, huh?

Look, I sincerely hope that DiDio does have a vision. The only problem is that he doesn’t seem to be willing to share it with anyone. And there’s no way in the world, with numerous titles and ever-changing characters under his supervision, that he can effectively control it all by himself. If no one else buys into what he’s doing, then he’s a lame duck. I hope I’m wrong, but it doesn’t look good. The rumors have swirled before and, in this industry, rumors have a strange way of coming true.

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Young Justice: Where has all the justice gone?

Apr-22-08

In the long and storied history of the “Meanwhile….Comics!” blog, we have only really dealt with Marvel matters. This is not because we are not fans of DC, or of other comics companies. Partly it’s been because Jason and I are much more conversant in Marvel history than we are in DC history. Partly it’s been because Marvel seems to have issues which we had more of a passion to discuss than anything in DC. And, at least for me, partly it was because DC comics has, in my eyes, become a violent, unhappy, soulless entity over the past few years, and trying to discuss any character they currently publish is likely to be painful. While I’m not particularly stoked about the direction of the Marvel Comics line, it has me doing cartwheels compared to the direction of DC Comics, which has me often feeling somewhat nauseous.

Many people would point to Brad Meltzer’s Identity Crisis as the tipping point where DC Comics began to move away from telling stories about spandex clad do-gooders, and began telling stories about psychologically scarred arrested adolescents living out some sort of power fantasies by beating the living snot out of each other. And rape. That became an important part of many of these stories. Those people who look to Identity Crisis as the starting point of the degradation of these great heroes are not entirely wrong, but there is an event for me that predates this 2004 miniseries by some time….the cancellation of Young Justice in 2003. That was the beginning of the end for my close relationship with DC Comics.

Young Justice began life in 1998, during one of DC’s Fifth Week Events called “Girlfrenzy”, in a one shot written by Todd DeZago entitled Young Justice: The Secret. The team at that time consisted of three of DC’s hottest young heroes, all proteges of an established DC A List character: Robin, partner of Batman; Superboy, inspired by Superman; and Impulse, nephew of The Flash. The three of them joined forces again in a two issue prestige format miniseries called Justice League: World without Grown-Ups, again written by Todd DeZago. Apparently these issues were successful enough to merit a series of their own, and very soon, Young Justice #1 debuted in September of 1998.

The creative team for the first issue, and almost every single issue thereafter, was writer Peter David and artist Todd Nauck. The three young heroes spent the first few issues as the only members of the team, save for a recently resurrected Red Tornado, who served as their “adult” supervisor. However, David quickly expanded the group by introducing some female members; the Secret, who had appeared in their first adventure; Wonder Girl, who had worked with Wonder Woman; and Arrowette, who had appeared earlier in the comic Impulse and acted as a female Green Arrow-type.

Many people attempt to pigeonhole Peter David as a comedy writer, and coupled with Todd Nauck’s artwork, which had a lighter, more cartoony feel, these people may have written Young Justiceoff as a silly book for kids. Nothing could have been further from the truth. Yes, Peter David can be quite amusing, but his humor is always in service to the story, and he can handle serious storylines with the best of writers. Alternating between lighter issues with those that handled very serious subject matter, David kept the series always enjoyable (and proved that adult topics could be handled with indulging in the sort of hysterical melodrama and violent power fantasies that now seem to characterize so much of DC Comics’ output). Todd Nauck’s artwork was likewise a joy, and while it may have seemed cartoony to some, he was able to handle drama and tension very well.

I could go on raving about the series, and may in follow up posts, but for now let’s move on to it’s tragic resolution. In 2003, Warner Brothers debuted a new cartoon series called Teen Titans, which was going to star the characters from DC’s long running comic series of the same name. Unfortunately, DC didn’t currently have a Teen Titans series, as most of those characters (and the niche that series filled in the DC Universe) was being filled by Young Justice. DC became convinced that they needed a Teen Titans comics series to match the new cartoon, so they cancelled Young Justice (whose sales did not warrant such a cancellation). They then published the execrable Titans/Young Justice: Graduation Day miniseries, which served as the launching point for the new Teen Titans and Outsiders series.

Unfortunately, rather than bringing Peter David and Todd Nauck over to the new Teen Titans series to continue their stellar work, DC decided to bring in Geoff Johns and Mike McKone. Now, I’m personally quite a big fan of both Johns and McKone, and gave the new series a try. Unfortunately, within a few issues they had already begun the task of dismantling the character development and relationships which had been cultivated in Young Justice, and by the third issue they had changed Impulse into Kid Flash, showing a complete misunderstanding of who Bart Allen really was. I left the series as a reader in disgust.

The purpose of our blog is not just to point our problems in continuity or in publishing, but to try and fix them. Sadly, I’m not sure if this is fixable. Besides trying to reunite David and Nauck on a book, the characters that were once a part of Young Justicehave been scattered since the end of the series. Both Superboy and Impulse are now dead and Secret has been depowered. Of course, this would all be a moot point anyway, as it does not seem that DC’s editorial policy would allow a series with the sort of sensibility that Young Justice possessed to be be published. I’d like to come up with something and I’m open to suggestions.

First of all, I agree that we need to dip into the DC end of the pool every now and then just to be fair. Unfortunately, just like you (and even though I owned a comic book store for a while) I don’t have the same deep knowledge of DC’s history. I can cover the Justice League, Flash and Green Arrow pretty well, but other than that I only know the names of characters and not much else.

That said, let me start my response to your post with the information I gleaned from last week’s New York Comic Con. During one of DC’s many panels, the question of collecting Young Justice into trades came up and was pretty quickly brushed aside by the higher-ups at DC Comics. So, I think that raises some questions that our website was designed to tackle. This might not be along the lines of “how can we fix it?”, but it does cover the ground of “what went wrong?”

You were obviously a dedicated reader of the title and my experience with it consists of seeing a few covers here and there. Therefore, I defer to you to explain the appeal to me a little more in depth. For instance, what were the circumstances that brought the group together? What villains did they face during the title’s run? What were the relationships that were built? How was the strength of the supporting cast?

I think by studying some of these points, we may be able to do a re-pitch of the series (or at least convince the editors that releasing the trades would be beneficial). I’m encouraged by the fact that the main series kept a consistent creative team, that usually helps with a book’s quality and direction. So let’s start there and see what builds.

What went wrong? With the title itself, I’d say precious little. Let’s start at the beginning. The original three members of Young Justice were Robin, Superboy and Impulse. Each of them had worked with the others once or twice, but the trio first worked as team to save a young girl called Secret from the D.E.O., who were keeping her under lock and key and trying to determine the extent of her powers. The boys managed to free her and found they worked well together. They next met when an ancient Atlantean force called Bedlam transported all the adults of the DC Universe to a parallel world. With only children and teens left, the three young men found themselves elevated to the status of senior heroes, and teamed to defeat Bedlam.

After this adventure, the three of them decided to stay together as a team. Why? Mostly because they simply needed the friendship and comraderie of being with other people their own age, who understood the pressures of being the next generation of a superhero legacy. Although they were a super-team, they were also friends; it was almost more of a club in those early days. Soon, Red Tornado, who had lain inactive in the old JLA Secret Sanctuary, awoke from his stasis, and he became the mentor for the group. It was inevitable that the group would not remain a “boys club” and sure enough, shortly after they formed their group, they became embroiled again with The Secret, as well as Wonder Girl and Arrowette. The girls joined the team, and the full roster of Young Justice was formed.

Again, the series was somewhat lighthearted, but there were also some very serious stories. One of their early villains was named Harm, a young man who seemed completely evil. His parents knew their son was a monster, but were afraid of him. While Young Justice battled Harm, the true meat of the story was the psychological battle within the mind of Harm’s father, who wrestled with the question of whether, if you knew your son was an evil person, totally devoid of merit, could you take the necessary steps to stop him?

Arrowette also had a fasincating story arc. Relatively early in the series’ run, one of her favorite teachers at school was killed by a jealous ex-boyfriend. Arrowette was enraged, and hunted down the killer. She soon had him at her mercy, and would have killed him if not for the intervention of Superboy. Later, after her emotions were calmer, Arrowette realized what she had done, and was scared to learn she was capable of murder. She vowed to give up being Arrowette, which she did. One would have thought that she would have either disappeared from the comic, or she would have eventually reclaimed her mantle. She did neither. She remained true to her vow, never donning the costume again, but still staying an important character in the further adventures of Young Justice.

Red Tornado, as the group’s mentor, could have been ignored. However, he was given some strong plots, as he tried to reclaim his humanity and make a life for himself with his estranged family. Eventually, he realized that his family needed him, and was more important to him than the team, so he resigned as their mentor. In his place, the group found a new mentor in Snapper Carr. Of course, Snapper has been knocking around the DC Universe for over four decades, but he often doesn’t seem to fit. Putting him in an adult role, mentoring kids who were experiencing some of the same things that he had experienced as a teenager, gave Peter David the chance to explore Snapper Carr’s personality in ways that it had not really been explored.

The interactions between the six main members of the team were also interesting. Robin acted as the leader, but was often challenged by Superboy and the developing relationship between the two of them, as Superboy came to respect Robin, despite Robin’s lack of powers, kept the team dynamics fresh. Wonder Girl began the series as an inexperienced and unsure heroine, but matured throughout the series’ run, eventually winning election as the new leader toward the end of the series. The mysteries surrounding Secret continued to be explored. Members became romantically involved (as teenagers do) and some new members joined the team, including the Ray, who finally found a place on a team with members closer to his own age.

In essence, it was a dynamic series, not taking itself too seriously, but willing to tackle adult subject matter when it was a natural outgrowth of the story being told. It never went for sensationalism, but instead contented itself to tell strong, solid stories that you could enjoy reading.

Okay, so from what I understand – and from a quick blast of Wikipedia knowledge – two of the team members are dead (Superboy, Impulse), one has decided not to be a hero anymore (Arrowette) and another is depowered (Secret). Not only that, but their initial mentor (Red Tornado) is possessed by Amazo while their later mentor Snapper Carr is working as some sort of spy for Checkmate. I have no idea how you could put this all back together again. And would it be worthwhile anyway? After all that these characters have been through, the innocence and youth is gone from them (as it is from 98% of the DC Universe).

From your description and from what I’ve been able to deduce online, the series sounded like an unofficial version of the original Teen Titans…formed out of a kinship based on being “sidekicks” or younger versions of their inspirations. Add in the world-weary mentor role and you could almost say it was a Fagin and the orphans scenario played out in comic style (without all the stealing and such).

There’s three trains of thought that I can come up with on this one. The first one is the most realistic: DC puts out collections of the 55 issues plus all the one-shots and miniseries, somewhere between 6-8 trades and it’s done. The second path is kind of a cop-out but ultimately makes sense with what’s going on in the DC Universe right now: make one of the 52 Earths a “World Without Grown-Ups” planet. This would give the team a chance to play out their adventures in a unique setting. They’d be THE heroes of the world yet would still embody all the insecurities and angst of their age and maturity level. Could be a fun way to play with all the toys in the sandbox. The third way is probably the most difficult: find new youthful characters in the DC-verse and bring them together logically to form a new Young Justice team. I don’t know which young heroes remain unblemished by the current goings-on at DC nor do I understand how they could be coaxed into befriending each other anymore, but that is one way to make the magic happen again.

There’s also the problem of who would handle the title? Peter David is exclusive to Marvel, as of February 2006. And the last I knew, Todd Nauck was at Marvel too, drawing Spider-Man. You and I both approve of the writing of Geoff Johns and his handling of superhero types, but I wonder if he’s too steeped in the current DC malaise to properly infuse this proposed title with the jolt of youth it needs.

While I may not have an immediate solution to the writing, I think Karl Kerschl would be an excellent choice for the art. His Teen Titans: Year One and All-Flash #1 work is both quirky and beautiful at the same time.

Writers and artists aside (though I think it’s interesting to discuss), which of the three solutions I offered do you think is best for Young Justice?

At this time, I’d just like to see them acknowledge that the team existed, and issue trades containing the entire series. I think it deserves that much. Let those of us who were fans of the series have the opportunity to enjoy it again, and perhaps they can draw in some new readers at the same time. I don’t see any point in trying to recapture the series with the same characters, as that would require so much continuity twisting that my head hurts just thinking about it. I also don’t see a point in putting them in another world in the multiverse. I’m not usually a fan of that sort of thing, since it never seems like the stories matter much when it’s not the mainstream universe that the rest of the comics line is based in. That being said, I’d like to choose both your first and third options. Let’s see them replace this group with something akin to Young Justice in tone. DC needs a book like that.

I realize that this post probably makes it seem like I am rabidly anti-DC and that’s honestly not true. While I admit that my early comic experiences were overwhelmingly of the Marvel variety (I found most of DC’s output in the early 80s to be rather dull and stodgy, while Marvel seemed cool and hip), I did soon begin to branch out to many other companies, DC among them. During the late 80s I came to like a lot of DC comics, and for some years during the 90s, I was reading more DC than I was Marvel, thanks to both a plethora of strong DC series, and Marvel taking a huge downswing in quality (teenage Tony Stark? Was that really necessary? A clone saga in Spider-Man that lasted for years? The Invisible Woman wearing a bikini top on her Fantastic Four outfit?). I have always loved the Justice League (thanks probably to the Superfriends cartoons of my childhood) and I think DC has some great characters and books. They also, as a company, understand the concept of a legacy much better than Marvel, and I love the way some identities (Flash, Green Lantern, Starman, Dr. Mid-Nite and others) have been handed down from hero to hero.

That being said, I’ve become quite disillusioned with DC over the past few years, and it’s not just because I’m not a huge fan of this dark turn they’ve taken. It should not come as news to anyone who follows comics that it isn’t the strongest business in the world. Many articles have been written on how one brings new readers into the fold. I don’t believe that most of DC’s current output, mired in continuity and dripping in death, dismemberment and rape, really reach out to a new audience. I think it plays to the same aging audience that has been reading the book for years, and it sure as hell isn’t going to draw in any children. Young Justice had the potential to appeal to a younger audience. Please note that it wasn’t written for a younger audience; Peter David wrote mature stories. However, his stories were accessible to people of any age, and I would argue they were appropriate for readers of all but the youngest ages (and truly, some of the sexual innuendo would have passed right over the heads of the really young anyway). Moreover, Nauck’s artwork was the sort of pleasant, happy artwork that would catch the eye of a younger reader, and he was such a strong storyteller, that no one would have trouble following the story. While we may not be able to use David and Nauck, surely we could find some creators who could do the job, and perhaps provide a safe haven for some younger readers (and older readers who don’t want to read about rape, death and decapitation on a monthly basis) in the DC Universe.

You mention Geoff Johns, and while I was very disappointed by his Teen Titans series, I do think he’s a very good writer. Moreover, he did a book with a similar theme in his very entertaining Stars and S.T.R.I.P.E. series, so I think he could handle it. Another writer who does a lot of work for DC and can handle anything she’s given is Gail Simone. She certainly has a lighter side, and her books always rise above the norm. A writer who I haven’t seen anything from for awhile, but who has an excellent eye for character is Devin Grayson. She worked on a previous Titans series and really did a nice job bringing the characters together and bouncing them off each other. As for artists, I’m somewhat familiar with Karl Kerschl’s stylized art, and while it’s taken me some time to adjust to it (you could take an eye out with his pointy knees and elbows), I think he would fit the style. I know he’s working for Marvel (and I’ve heard rumors he’s retiring), but I’d also recommend Mark Bagley, one of the strongest, most reliable, and perhaps most underrated pencillers around, who’s proved he’s good with teenagers in Ultimate Spider-Man. Sadly, Mike Weiringo would have been perfect; his death was such a loss to the comics community.

As for characters, I’m afraid I may not be as familiar with who would work as I once was either, and I’m also not sure who’s been spoken for other places. I think you could use Robin and Wonder Girl, and the Ray joined in later issues, and I believe he’s available. I also believe Empress, who joined in later issues is available, and perhaps they could use Supergirl. I also think it would be cool if they used Mia Deardon, the current Speedy. There’s six characters, and all of them except Empress have a heroic legacy to live up to. We’d just need a new mentor. Hmmmm…someone who hasn’t been used in awhile. How about Major Disaster? He’s tried to be a hero many times…when last seen he was an alcoholic, but if he got over that and acted more like he did as a leader of Justice League Antartica, he might fit in. There was also a group called Old Justice in the original series, comprised of sidekicks from previous decades, and included Doiby Dickles. He’d be perfect! He’d be more like a grandfather, but it could be an interesting direction; he’s certainly seen his fair share of odd stuff, and doesn’t seem fazed by anything. Do you have other suggestions?

The first character that came to mind for me was the new Blue Beetle, but I believe he’s tied up in the new Titans series somehow (again my lack of current DC lore comes to light). There’s also the newly rediscovered Traci Thirteen who’s started a relationship with Jaime Reyes (Blue Beetle)…her father could be a pretty wacky mentor too. Maybe Klarion the Witch Boy…wasn’t he briefly in Young Justice?

Regardless of membership, I’m still not convinced that a lighthearted, youthful team like this has a place in the current DC Universe. Perhaps it is best to just release some trades and let this one shuffle off the mortal comics coil.