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DC Comics Multimedia General - A crisis of infinite fuck ups
DC seems to basically have had an advantage in the 2000s with the Cartoons (BTAS, STAS, JL/ JLU, Teen Titans, and other stuff). Literally fumbled all of this.
Marvel basically had to sell chunks of itself off (media rights) to stay afloat until Disney bought it. It basically ruined multiple characters because in addition an editor had a midlife crisis, decided that his waifu didn’t win the Spider-bowl, decided that company wide events would draw interests, ensured that it would interrupt story arcs and ruin characterization, and basically did a crappy Death of Superman thing with Captain America.
How the fuck Marvel managed to have a better media strategy astounds me. (That one Avengers cartoon that had the OG lineup was pretty good. I actually like when Hank Pym is basically a Supervillain who doesn’t want to be a supervillain and is cynical about being a hero, better than “HOW CAN HE SLAP!!!”)
DC with the movies seems like it did the 343 Halo thing where besides Snyder, no one actually likes the properties and actively held contempt for them. Snyder didn’t 100% get the character, but I feel like he didn’t have contempt. His influences were all over the place with Frank Miller and that shitty Jack Kirby Fourth World shit that needs to get taken behind a shed and shot because Mister Miracle and Barda are the only good thing from that shit. They need to put an editorial embargo on Darkseid, they use him too early and too much. Kills any stakes if you have some guy who apparently the biggest threat to existence as a known enemy first. Also just makes it so the Green Lanterns feel pointless if they aren’t opposing him.
I don’t know what’s more embarrassing. Zombie Simpsons parodying Joker 2019 in 2026 or zombie simpsons writers are more respectful to Joker 2016 than the actual writers for joker 2.
The Flash movie was also reportedly the best DC film to date, and Blue Beetle was reportedly meant to be the opening act of introducing DCU. The man lies as easily as breathing, so claiming that Superman is his "dream job" to prop up investor confidence is something I view as more of the same.
If Gunn's "I'm Gonna Quit If You Call Me Supershit" Superman and Lex "1A-1A-1A" Luthor is all that he can do to start, it's never going to get off the ground regardless of how many side characters he jam-packs into Man of Tomorrow.
Back when the book was still being made I gave trades to two different grade school age relatives who were not comics book readers and they liked it enough to ask me to get them more and to get into other DC stuff, so it does have appeal to kids, something DC is lacking at the moment but they let Bendis screw them over
Bendis has gone 2 for 2 in screwing over comic universes. He did Civil War II beforehand that featured a bossy Captain Marvel before the movies that convicted people based on thought crimes and completely failed upwards. Also introduced Ironheart.
When I saw he was going to do some Superman stuff at the time, I thought, "Fuck NOOOOOOO!!!!!!"
It takes place in Miami (or fictional Miami) where the population is mostly illegal aliens and anchor babies while the whites are villains who are portrayed as high-tech versions of ICE, and George Lopez goes on retarded rants that include things like "the border crossed US!"
The electronic score is decent, especially the main theme, and the first half is okay with the kid learning his powers and doing goofy Iron-Man shizz, but it drops hard in the second half and has some of the worst preschool age humor I've ever seen in a modern movie.
DC seems to basically have had an advantage in the 2000s with the Cartoons (BTAS, STAS, JL/ JLU, Teen Titans, and other stuff). Literally fumbled all of this.
Marvel basically had to sell chunks of itself off (media rights) to stay afloat until Disney bought it. It basically ruined multiple characters because in addition an editor had a midlife crisis, decided that his waifu didn’t win the Spider-bowl, decided that company wide events would draw interests, ensured that it would interrupt story arcs and ruin characterization, and basically did a crappy Death of Superman thing with Captain America.
How the fuck Marvel managed to have a better media strategy astounds me. (That one Avengers cartoon that had the OG lineup was pretty good. I actually like when Hank Pym is basically a Supervillain who doesn’t want to be a supervillain and is cynical about being a hero, better than “HOW CAN HE SLAP!!!”)
DC with the movies seems like it did the 343 Halo thing where besides Snyder, no one actually likes the properties and actively held contempt for them. Snyder didn’t 100% get the character, but I feel like he didn’t have contempt. His influences were all over the place with Frank Miller and that shitty Jack Kirby Fourth World shit that needs to get taken behind a shed and shot because Mister Miracle and Barda are the only good thing from that shit. They need to put an editorial embargo on Darkseid, they use him too early and too much. Kills any stakes if you have some guy who apparently the biggest threat to existence as a known enemy first. Also just makes it so the Green Lanterns feel pointless if they aren’t opposing him.
That has always been the story of DC in a nutshell. They have always succeeded despite themselves.
They get the best talent because fans genuinely want to do Batman, Superman etc work and don't mind being treated like crap. The 2000s animated DC boom wasn't even a 4d chess move even it worked like one.
In the 2000s they just happens to own a kid's cartoon network. They were just fishing for toy and merch money. Turns out those silly cartoons are the only reason millennials ended up caring about their entire DC line up. Games, movies you name it.
Animated DC genuinely always has always had the best talent in the industry, but they always go for hacks and celebrity fad directors that are unable to bring even half the quality of an average BTAS episode
What gets me is before Bendis this wasn't even hinted at, in fact there were a couple of girls Jon had grade school level crushes on.
Not to mention aging him up forced the cancelation of the excellent Supersons.
If DC really wanted to get the attention of kids reading manga they would undo everything Bendis did to Jon and start pushing Supersons, complete with its own cartoon. I am telling you my gut says it would work and grab the interest of the general public. Have Jon living on the farm with his parents, give him a wholesome girlfriend character so girls have something to be invested in, then have him and Dameon going to the same school and hanging out at the Fortress of Awesome and I think you have something there.
Back when the book was still being made I gave trades to two different grade school age relatives who were not comics book readers and they liked it enough to ask me to get them more and to get into other DC stuff, so it does have appeal to kids, something DC is lacking at the moment but they let Bendis screw them over.
If they do teenage versions for shoujo sake, Jon should just be a cool jock, I'm talking Alicia Silverstone from Clueless but a himbo with a heart of gold instead of a stacy.
Meanwhile Damian should be a true honest to god Chuddenheimer, as in someone who feels like he should have an account here & roams Sharty in his past time.
If they do teenage versions for shoujo sake, Jon should just be a cool jock, I'm talking Alicia Silverstone from Clueless but a himbo with a heart of gold instead of a stacy.
Meanwhile Damien should be a true honest to god Chuddenheimer, as in someone who feels like he should have an account here & roams Sharty in his past time.
I just want to imagine chud Damian teaching Jon what Sneedposting is (because if he's already a Kiwi Farmer & Sharty user, might as well make him a pre-2016 4channer). The whole himbo Jon thing is so I can imagine Jon probably thinking the whole Feed & Seed thing as legitimate rocket science with the actual Chuck reveal.
Half of the thing can just be Damian fucking with Jon because doesn't know what a shitpost is & legitimately believes the shit Damien says with sincerity.
Edit: just for example, imagine:
Jon: Damian is smarter than he looks y'know, he once told me about a secret gemstone not mentioned anywhere. He called it "gemerald" saying only he & certain few know 'bout.
Jon: Damian, instead of just typing stuff, just send me these weird drawings of bearded bald... Eggs? They always have random stuff too, what's a coal alarm when I appreciate his dad not killing the Joker? What does "gemerald alert" have to do with crime statistics? He's smarter than me tho, maybe I just don't get it.
I'm on painkillers rn so my chuddy imagination is quite weak at the moment (I think I'm mixing basic Xitter at this point, I can't tell). Add onto it if you want.
The woke have tried for years to blackify and gayify both Bats and Supes, fortunately they haven't succeeded yet. In fact, I half expected Damian to be made gay for this Supes son.
The woke have tried for years to blackify and gayify both Bats and Supes, fortunately they haven't succeeded yet. In fact, I half expected Damian to be made gay for this Supes son.
I am indifferent to characters being gay, but them making Jon gay left a very bad taste in my mouth.
Some soyboy did it to get his Reddit gold, and asspats all while ruining the whole supersons to make him an obnoxious activist.
Even if they wanted this is something they can’t just retcon without getting woke Twitter, and mainstream media after their asses. Still I hope against all hope that it doesn’t stick, and we get wholesome Jon back.
It takes place in Miami (or fictional Miami) where the population is mostly illegal aliens and anchor babies while the whites are villains who are portrayed as high-tech versions of ICE, and George Lopez goes on retarded rants that include things like "the border crossed US!"
The electronic score is decent, especially the main theme, and the first half is okay with the kid learning his powers and doing goofy Iron-Man shizz, but it drops hard in the second half and has some of the worst preschool age humor I've ever seen in a modern movie.
