Let’s face it. Pretty much every industry not associated with health care, masks, streaming media, and Zoom calls has been hit hard this year. That’s especially true for certain segments of the entertainment industry. Basically, if you’re a movie studio, a movie theater, a comic shop, or a mall, this year has been like 100 punches to the gut, jaw, and genitals by a crack-fueled Ivan Drago.
That’s how bad global pandemics are. They pull no punches and will hit anything that attempts to prosper, both directly and indirectly.
Those blows extended to the comics industry, as well. As a lifelong comic book fan, I certainly felt it. I haven’t forgotten the weeks on end of having no new comics to enjoy for the first time in over a decade. It was not a pleasant experience. As elated as I was to see New Comic Book Day return, I didn’t doubt for a second that there would be some lasting scars.
Well, now it seems some of those scars are starting to fester and the first one to feel the pain is DC Comics. According to The Hollywood Reporter, the entire DC Comics operation has been hit with major layoffs and restructuring. It’s still intact, but make no mistake. This is the single biggest purging of personnel from a major comics publisher since the mid-1990s.
THR: DC Comics, DC Universe Hit By Major Layoffs
Monday’s WarnerMedia layoffs have affected a significant number of high-level figures at comic book powerhouse DC, multiple sources tell The Hollywood Reporter.
Among those said to be losing their positions are editor-in-chief Bob Harris, senior VP of publishing strategy and support services Hank Kanalz, VP of marketing and creative services Jonah Weiland, VP global publishing initiatives and digital strategy Bobbie Chase, senior story editor Brian Cunningham, and executive editor Mark Doyle, who oversaw the rollout of the Black Label graphic novels. Jim Lee remains the CCO.
Roughly one third of DC’s editorial ranks are being laid off, according to sources.
Insiders also say the majority of the staff of the streaming service DC Universe has been laid off, a move that had been widely expected as WarnerMedia shifts its focus to new streaming service HBO Max.
I can’t understate how big a deal this is to the larger world of comics, but I don’t want to overstate it, either. This situation is objectively bad. There’s no way around it. It’s also not the definitive end of DC Comics. That’s a narrative I don’t want to fuel.
That hasn’t stopped some of the whiniest, dumbest segments of the comics crowd from claiming otherwise. I won’t name names, but they are affiliated with a certain movement in comics that has only become less credible and more insufferable with time. The box office return of the “Captain Marvel” movie is proof enough of that.
Don’t be fooled by what some asshole voices on social media claim. This restructuring is not because DC Comics had too much diversity. It’s more a byproduct of DC Comics having lost its sense of vision, scale, and identity. This is something that happens from time to time in comics. After a while, the whole line loses its sense of self and needs some revitalization.
I can say, as a longtime comic fan, that DC has become somewhat stale in recent years. Even before the pandemic, I felt as though it had lost momentum outside its mainstays. It has primarily been relying on the strength of Batman, Wonder Woman, Superman, Green Lantern, and Flash. As iconic as those characters are, they just can’t sustain the entire line.
There are many reasons for that. I think DC Comics, as a whole, hasn’t had a consistent vision since the days of DC Rebirth. It just got bogged down too much with competing visions, like DCeased and Injustice: Gods Among Us. It also endured way too many delays with its last big crossover event, Doomsday Clock.
The onset of the pandemic just exacerbated a problem that was starting to grow. As bad as things are now, there’s also an opportunity to set things on a better path. That’s my greatest hope for whatever restructuring DC pursues next. It still has plenty to build on. The success of the Harley Quinn show is proof enough of that. It’s just a matter of what form that will take.
That said, I do have major concerns. Comic lines have gone through upheavals before, but never during a global pandemic. This is uncharted territory for the comics industry, as a whole. This is not the era of newsstands and comic shops where top books could easily sell hundreds of thousands of copies. Paperbacks alone are not going to make this industry succeed.
Comics, in the current system, work best as a garden from which new characters, stories, and ideas can blossom. The fruits of that system can later become the basis for TV shows, movies, merchandise, and so much more. DC Comics already has a major media partner in its owner, AT&T. The structure is there. They just have to carve their niche into it.
I understand that’s easier said than done. Right now, a lot of factors are working against DC and the comics industry, as a whole. When all is said and done, comic shops may become much more diminished and trade paperback sales may dwindle to just a handful of titles. I’m not looking forward to that kind of status quo.
The ultimate setup may one day involve DC Comics just abandoning its publishing system, as a whole, and shift to licensing its characters to other companies, such as IDW. That’s very much a last resort, but one that may be more likely if DC can’t get its comics in order.
I want to be hopeful, but I’m also going to brace for the worst. If 2020 has taught me anything, it’s that things can always get worse and the things we love are always capable of succumbing to forces beyond our control. It’s a sad, nihilistic mindset, but one that a global pandemic tends to affirm. Only time will tell and I’ll be waiting with baited breath.
It’s been a rough summer for fans of romance, superheroes, and superhero weddings. In fact, in all the years I’ve been reading comics and following romantic sub-plots, I can’t remember a time when there was this much melodrama and heartbreak. I understand that any epic romance is going to involve a healthy bit of emotional strain, especially when it involves superheroes. There comes a point when it just becomes too much.After the deconstruction and denigration of superhero romance 
I certainly counted myself among those 
Before I explain, I want to establish that many of the details beyond this point are heavy spoilers. Seeing as how this comic was already spoiled a couple days prior to its release, 
In contrast, the ceremony in 
At one point in the story, Batman makes clear that he still wants to marry Catwoman. He’s not having second thoughts. It’s Catwoman who makes the fateful decision to break it off and she doesn’t wait until half-way through the ceremony, either. To put that another way, an admitted jewel thief who 
What makes Batman both effective and iconic is how he takes the pain of a tragedy, namely the death of his parents, and turns it into strength. The same pain that would break a lesser man drives him to do so much more. He’s the Dark Knight who defends Gotham. He’s a hero who deserves to fight alongside demigods and aliens on the Justice League. For him to be Batman, he needs that pain to fuel him.From Catwoman’s perspective, Batman finding happiness means denying him the fuel he needs to be Batman. That’s not a realization that just randomly pops into her mind at the last second, though. This is something the Joker 
That doesn’t make Catwoman’s decision any less disappointing, but it’s still nowhere near as callous or selfish as Kitty Pryde’s decision in X-men Gold #30. I know it’s somewhat unfair to keep comparing the two, given the different circumstances of their relationship, but those distinctions highlight an important element that the failed Batman/Catwoman wedding has that the Colossus/Kitty Pryde wedding didn’t.What happens in 
In the grand scheme of things, 
If I had to score 
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