With Comic-Con fast approaching (July 24-27) and all the Hollywood studios getting ready, I understand that Warner Bros has been nervously monitoring the deteriorating situation at its subsidiary DC Comics. There could be a major shake-up – especially if Time Warner CEO Jeff Bewkes keeps cleaning house inside the Big Media corp. There’s a lot of chatter, from comic book circles like io9.com to trade media like Publishers Weekly, that DC Comics Senior VP and Executive Editor Dan DiDio, who oversees the DC Universe line of superheroes, is in major trouble. I don’t pretend to know all the ins and outs of the comic book culture. But my own reporting, and others’ coverage, show the following:
The problem isn’t just that, under DiDio’s leadership, fanboys are disappointed with the directions of Batman, Superman, Wonder Woman and other characters. (How dopey of DiDio to come out with a new series Decisions this September where the superheroes take political stands timed to the election.) Little wonder that fanboys are selling “Dan DiDio Must Die” t-shirts. But also average sales of the DCU line are down more than 20% from a year ago, and DiDio has lost a big chunk of existing readers in a year while deliberately failing to reach out to new ones.
But the biggest bad news is that DC’s much hyped Summer 2008 release Final Crisis, the 7-issue miniseries, isn’t the huge hit it was supposed to be. Comic Book Resources reviewed, ”This isn’t a disaster just yet, but six more issues of this caliber and this could spell the end of the sales power for a company event at DC Comics. Final Crisis, indeed.” Not to mention those misleading full-page DC Comics ads promoting Final Crisis by referring to an upcoming ”Batman R.I.P.” storyline. That could have unleashed a box office backlash against Warner Bros’ all-important The Dark Knight release next month. (“We can’t kill him during a big movie year,” DiDio finally made clear.)
With DC Universe so much a part of Warner Bros’ bottom line, getting DC Comics back on track has to be a top priority. For one thing, the movie studio’s biggest DC characters remain in development limbo – Superman, Wonder Woman, the Justice League. Only Batman has an ongoing live action franchise. But whose fault is that? Warner Bros Pictures Group prez Jeff Robinov and Warner Bros prez/COO Alan Horn (who still retains greenlight authority and therefore has to share the blame for this) remain paralyzed by indecision, chaotically starting and stopping work on scripts for the biggest DC characters.
Meanwhile, Marvel is about to exploit the hell out of its characters, primo or not. Right after Iron Man‘s success, Marvel Studios announced an ultra-ambitious film development slate through 2011, culminating in an “Avengers-Themed Summer”, introducing a Captain America film and then uniting heroes Iron Man, Hulk, Captain America and Thor in a single film. Heck, if I were Bewkes, I’d shake up Warner Bros as well as DC Comics.
To add insult to injury, Marvel’s Secret Invasion comic book was #1 in May, while DC’s Final Crisis was only #2. Worst of all, DC had only three comics in that month’s top 10 best-sellers. As one Internet commenter opined on io9.com: “DC needs to make this move just to show that they do in fact care about their product, and appease fan boy rage. Even if the higher-ups at TW really like Mr. DiDio’s work, the sales numbers and overall editorial inconsistancies under his recent tenure has caused public perception to view him as being incompetent.” DiDio, who took over in 2004, can’t be happy his current contract expires soon. Or that Jimmy Palmiotti is being handicapped as his replacement. (Palmiotta is currently an exclusive writer for DC Comics and formerly the co-founder of Event Comics and co-head of Marvel’s Marvel Knights imprint with friend and current Marvel Editor-in-Chief Joe Quesada. Fanboys also suggest Joey Cavalieri, a veteran of both comics companies, should be considered.) Now the question is whether DiDio will exit before Comic-Con, or after, or at all — and how much of a distraction this will be at the confab.
Editor-in-Chief Nikki Finke - tip her here.


Rich Johnston? Great! Well, at least half of what he writes will be true, but good luck figuring out which half.
“DC Comics has Superman, Batman, Wonder Woman, Aquaman, Flash, and the Green Lantern. Toss in Captain Marvel/Shazam and that’s about the limit of their marketable characters for film.” Comment by Harold — June 22, 2008 @ 1:03 pm
Sometimes it is better to remain silent and have people think you are ignorant than open your mouth and prove it to them.
I also want to completely agree with FairyTaleListener about his assessment about Greg Noveck. With a small caveat, the boy’s a cock-blocker on the lot because he has no real power. He can’t greenlight a movie so he’s just a suit wasting everybody’s time.
Harold,the biggest problem with “comic book movies” is the fact that BOTH Marvel and DC are only willing to adapt the “big-name” characters- and as a result, are wearing out their welcome with overfamiliarity, while pointedly ignoring anything new. ( I had to laugh at the hype over SUPERMAN RETURNS being “the first new Superman movie in over 20 years- because, with SUPERBOY and LOIS AND CLARK and SMALLVILLE and MULTIPLE animated series, the character has been on TV pretty much non-stop for the past quarter of a century!)Even when somebody does adapt a lesser known strip like BLADE or HELLBOY or SIN CITY (all of which were very profitable, you’ll notice), they’re still not exactly “new” (all three were at LEAST a decade old when their film versions premiered).Seriously, Hollywood is going after characters who are forty and fifty years old (hell, this year is Superman’s 70th Anniversary!) And frankly, even though my own PERSONAL tastes lean towards the “old stuff”, all logic tells me that young audiences- you know, the ones that ACTUALLY GO TO SEE MOVIES IN THEATRES- would go NUTS if you started adapting comics that actually originated IN THEIR OWN LIFETIME.(At the very least, would it be a bad idea to find a comic with a good story that would translate well to film, rather than trying to remould some continuity-heavy wreck whose fan following will scream if you make changes? After all, the stuff that’s selling in bookstores tends to be the comics that apeal most to new readers…)
I’m with Writer on hating crossovers. But DC can’t win with those. If they don’t hook them into all the books, then people whine about how the miniseries “doesn’t mean anything” and “doesn’t affect anything.” But if they do hook them in, then it means readers have to buy a bunch of crap they aren’t interested in to get the whole story. It’s a lose-lose proposition.
(Plus it makes it harder for readers to jump back in. I haven’t bought monthlies since Wally West was the Flash, and I’m now too lost to try to jump back in.)
By trying to please the fanboys, DC pleases no one, not even the fanboys. People complain when stuff changes, but they’ll complain if it doesn’t change. People complain when things don’t line up with something that happened 30 years ago, but people complain about the books being continuity-heavy.
Anyway, Harold, I will second Sherry’s comment about the younger generations thanks to the Justice League/Teen Titans cartoons. They’ve got lots of marketable stuff far more recent (and probably more well-known nowadays) than the horribly campy Superfriends.
And they could definitely do so much more with non-pervert suit properties such as SANDMAN, FABLES, etc. That’s where DC could really shine as opposed to Marvel. They’ve got stuff that doesn’t have to be a CGI-driven, blow ‘em up fest in bright, goofy-looking costumes that look silly on a movie screen.
I mean, TV shows, for example, are getting made out of paranormal romance/urban fantasy stuff like the Sookie Stackhouse novels. Stuff like FABLES could easily appeal to the same audience. My point is, they’ve got stuff in the Vertigo imprint that could be marketable in ways that don’t depend on having a built-in male audience that just wants to see stuff blow up.
Marvel, on the other hand, has only got superheroes. Think how easy it can be for the CAPTAIN AMERICA and THOR movies to be totally laughable. Marvel lucked out with IRON MAN in that it was fairly easily adapted for the modern world. But Cap in bright red and blue throwing that goofy-looking shield around? THOR? Yeah, right. It all just screams, “Cheese.”
Doesn’t TW own HBO? Are they that oblivious to the kind of venue HBO provides for untested material? Vertigo’s Fables and Preacher are virtually tailor-made for HBO, which, by the by, is losing its quality program edge to Showtime.
Dan Didio isn’t the only one who needs a good helping of scrutiny.
Well, HBO has apparently toyed with a series adapting PREACHER, but there ‘s probably no enthusiasm for it from the brass there (Comics writer Brian Michael Bendis, a guy whose stuff has great “crossover” potential, said that an exec there flat out told him “HBO doesn’t do comics”- probably just part of that snobby, better-than-TV attitude that stopped working for them a couple of years ago.)
Sherry — June 22, 2008 @ 1:49 pm: “DC has actually managed to introduce more characters to younger generations”
cst — June 22, 2008 @ 2:39 pm: “And frankly, even though my own PERSONAL tastes lean towards the “old stuff”, all logic tells me that young audiences- you know, the ones that ACTUALLY GO TO SEE MOVIES IN THEATRES- would go NUTS if you started adapting comics that actually originated IN THEIR OWN LIFETIME.”
Neena — June 22, 2008 @ 2:42 pm: “Anyway, Harold, I will second Sherry’s comment about the younger generations”
ReelBusy — June 22, 2008 @ 2:07 pm: “Sometimes it is better to remain silent and have people think you are ignorant than open your mouth and prove it to them.”
Okay, I should have known better. There are only fanboys commenting on Nikki’s post and as eveyone knows “market to the fanboys, but engage them at your peril.”
Other than ReelBusy’s remark, I will address the others with this comment about comic books and their (non-existant) young readers:
“I don’t expect the babymen to ever see what I’m talking about, they can’t. Now not all fans are babymen, but 80% must be. And thier taste is the real issue as I see it. Since they can’t emotionally move on they must drag down these children’s concepts with their adult fantasies. But the fact is their taste is not the taste of a large pool of average readers, it’s the taste of the fetishist, the niche collector. And they are the fans who drag boxes at cons have graying temples. Sometimes it’s a dad with his some or kids, but more often than not I see hardly any kids at cons and no kids in the comic shop outside of Free comic book day. The kids I see reading comics are in Borders reading manga. But the sad fact is since no new kids in any real number are coming into the hobby of comics and falling in love with them for a few years and since 90-95% of retailers are the worst kind of dumb businessman you can imagine, who don’t seek to build more customers, and definitely not kids, it’s a double whammy.”
This guy wrote it. I rearranged some of the sentences to group them together on similar topics (e.g., “babymen” are adult comic book fans, their tastes and hang-ups have damaged an industry they claim to love, etc.), but didn’t change a word.
So, no. Young audiences will not go nuts if you started adapting comics that actually originated “IN THEIR OWN LIFETIME,” because in addition to ever decreasing comic book sales, fewer kids are reading them.
I agree that DC FILMS is just not what it should be, but who is to blame in this situation? DC Comics, Greg Noveck, Alan Horn or Time Warner corporate? I mean look at Marvel. Their autonomy is just proof positive that with the right creative backing, good films based on comic’s material can make it. I think there have been many, many valid attemps made on DC’s end (Teen Titans, Flash, Green Arrow, Ocean, Red..) but I’ve never seen them come to fruition.
I am not certain, though, if any blame can be laid on DC Comics as an entity for their film and tv decisions, after all, unlike Marvel, they can’t finance their own product so they are left to the devices of their parent company, Time Warner and Warner Bros. Seeing things like Fables and Sandman or Preacher or whatever at HBO would be amazing, but would the studio ever let that happen? I’m not sure. I would hope so. As a fan though, I can’t wait for the day it does happen, and they get it right.
The “DiDio must die” t-shirts were a parody of a smaller ad campaign within DC’s comics “Jimmy Olsen must die.” A fan made one and gave it to DiDio at a comic book convention, where DiDio put on the t-shirt.
Issues of comics come out once a month, mostly, with a staggered schedule so there is new product each week. Somebody saying they are reading Final Crisis is really saying they read the first issue. The second issue is due out this coming Wednesday. I don’t know how you judge a story based on 1/7th of the story.
People who say they quit buying comics because of the constant crossovers are saying that they don’t buy DC or Marvel. Marvel’s current crossover is going to crossover into nearly 100 titles over the next few months—at $3 or $4 an issue.
it is UNBELIEVABLE there isn’t a Green Lantern movie in production. It would be easy as hell to make, he is better known than people think, and sequels could open up to include the Green Lantern Corps. Somebody creative could really run with it, and it would be a good time, not necessarily the ‘dark superhero’ turn.
And where the hell is a Doctor Strange movie?
Didio came in years back and raised sales significantly, then presided over a number of very popular “event” comics, including the “52″ series, which showed that weekly comics can work creatively and financially. So despite recent problems at DC, Didio deserves respect for all the considerable good that happened under his watch (if indeed it is over: I will believe it when I see it).
I would agree that Marvel outselling DC is a non-event. It is status quo and so Marvel’s Big Event (SECRET INVASION) beating DC’s (FINAL CRISIS) is hardly a surprise. Pulling quotes from the aforementioned blogs about FINAL CRISIS skews the reaction to the series towards the kinds of readers who seem to exist solely to kvetch (KVETCHING ON INFINITE EARTHS if you will). In the end, FINAL CRISIS, as written by star writer Grant Morrison, an heir to Jack Kirby’s rather epic creativity, will sell gangbusters, as will some of its tie-in titles. So blaming Didio for such inevitabilities seems petty and pointless to me.
Neena – THOR is “cheese?” It is heavily based on Norse Mythology. Is that cheesy too? Is Lord of the Rings ‘cheesy?” Fantasy in general? And how is Captain America, when taken in the context of the Marvel “universe” – any more or less goofy that Superman’s outside underwear, Batman’s bondage gear or Green Lantern’s “magic ring?” It’s all about treating the properties with respect (and landing great directors, cast too). With the 1960′s BATMAN tv show in mind, many people were totally (and understandably) skeptical of Burton’s movie version (starring “comedian” Michael Keaton) prior to its debut. Why not give long-standing genre material the benefit of the doubt instead of going the jaded route?
The poster who indicated that IRON MAN is a big “name” property is off base. IRON MAN had scant mainstream brand recognition but it proved that such dark horses can become smash hits if smartly made. Same goes for DC’s IP library: nobody knows who the frak BLUE BEETLE is (or what CHECKMATE, CHASE, MANHUNTER, FABLES, PREACHER, or SCALPED are), but his most recent incarnation as a teen from El Paso, COULD do well as a movie or television (think BUFFY or REAPER) series if TW could get its act together. Eventually, TW will get on track (and it’s animated output has been top notch for over a decade).
This is still relatively early days for both companies in terms of movies/tv, with Marvel – as has often been the case since the early 1960s – blazing the trail ahead of TW’s DC stable.
Harold, you’re still making the same mistake as Marvel and DC are- you think that it’s all about cashing in on presold names. You ARE right about kids not reading comics- but that just means they aren’t reading SUPERMAN and BATMAN either.Complaints about superheroes seeming “cheesy” are mostly about how OLD-FASHIONED characters created half a century now look.Some of them are updatable, and the best of them are genuinely timeless…but a lot of them are nostalgia acts, revived only because now- adult executives vaguely recall them… and are scared to death of anything new. As for comics themselves, they’re doing pretty good these days. Oh, not the monthlies Marvel and DC sell to the comics shops…they’re dying a slow and painful death. But try going into a major bookstore and ask for “Manga”…THAT’s what the kids are reading.(Personally, I think superheroes have become a COMMERCIAL dead-end for comics, because the big budget movies can give the action loving audience more “BANG!ZOOM!” action than ink on paper ever has(although that doesn’t always add up to more actual excitement, of course).Ironically, Hollywood seems to have finally caught on to the idea that comics really ARE about character and narrative first and foremost…AFTER they figured out the tricky special effects stuff!
Harold,
I address your fatally naive analysis of business issues and you call me a fanboy?
Then you use someone else’s words to support a weak case?
That’s pretty lame sir.
Also as my final word in this argument. You say only the top tier of DC’s character’s are film worthy yet many less mainstream comics have done quite well at the Box Office.
The Mask
The Crow
Road to Perdition
History of Violence
You, Harold, must work at Warner Brothers because you appear to have the same lack of vision that those exec’s have when assessing their inventory.
lol. The fans came out.
DC (not including Vertigo, of course) had been suffering from lame writing for a while, and that situation was not helped in the least by Warners acquiring it.
Now that it’s owned, there’s all this overhead pressure to DO something with their almost-always-mediocre books, especially the big-name ones.
But the fact is, Warners has plenty to work with in DC’s library as it is, and could develop for years with what they have. So turning a glaring eye on DC is simply passing the blame.
With so many other mediums of entertainment constantly siphoning away potential comic book readers, the pressure is definitely on for DC.
So. Isn’t it time Warners proved its worthwhiles as a juggernaut and inspired its comic book subsidiary, as well as the fans? Warners has more resources than DC, access to any talent they wish, and the ability to make just about anything happen with their properties.
If they only had the balls, they would announce a slate, get fangirls and boys shuddering, and jumpstart their comic book sales.
I mean, isn’t it pathetic (and interesting too, because it shows it CAN be done) that the Zack Snyders and Chris Nolans of the world are single-handedly working away at it?
But I’m not one to kid myself. Studio bosses prefer to take meetings and issue ridiculous statements of nothing designed to make their shareholders feel better. For the life of me I don’t know how this industry hasn’t crashed and burned yet.
What I want to know is why no one’s decided to do a Green Arrow TV spin-off yet for the CW… and whose genius idea it was to do “Green Arrow in Prison.” I mean, really?
The niche market problem started because of Jim Shooter’s idea that he could sell more comics through comic specialty shops. As we can see 75% of comic specialty shop owners are morons who couldn’t sell the shirt of their back and that is why the industry struggles with these growths and wanes. The only way the industry can stabilize is if both Marvel and DC put all of their work into getting comics in the most convenient places that casual readers would visit. That way it will lessen the dependence on comic book specialty shops and increase income and sales. They’ve already proven they have the right skill in marketing. They just need to fix the problem with getting comics in new readers hands.
Vertigo is DC’s most fertile and least-tapped vein of cinematic greatness. Yeah, some of the titles are off-beat, to be true, but there’s so much strong material there that it seems delusional that these stories aren’t being told. Chalk it up to executives who don’t get it, producers who assume they get it and mangle the adaptations in the process (think CONSTANTINE, which wouldn’t have been that bad if they’d, you know, kept the lead character British which is what the whole bloody book is about), and the fanbase which just keeps taking their lumps. I so wanted HBO to take on PREACHER, but they seem more interested in the same dull crap like “In Treatment” that helps explain their rapidly-dwindling market share.
I’m hoping that New Line is still producing Y: THE LAST MAN. They had a script for Vertigo’s WE3 that is unlikely to ever get made that is one of the most amazing scripts I’ve ever read.
I don’t know, but from what I see, development execs are falling all over each other to scrape up any comic material they can find and put it on screen.
I guess they don’t bear a mention because a lot of them are not part of the DC or Marvel superheroic universes (even if some are published under their imprint)s. SIN CITY, 300, 30 DAYS OF NIGHT, LEAGUE OF EXTRAORDINARY GENTLEMEN, SPAWN, and WANTED are all comic properties. And many of those are relatively recent, too (to address the point of an earlier poster who urged companies to look towards material that isn’t 40-50 years old). THE SPIRIT and WATCHMEN are also chugging towards theaters. And Y: THE LAST MAN has been picked up as a feature with comic scribe Vaughan adapting.
Plus, there are a number of smaller publishers who’ve evolved a Hollywood-centric business model. They put out books to court the studios, basically subbing in 5-7 issue story arcs in the place of a typical feature spec. And much of that material is written with a feature mindset, rather than an ongoing comic series perspective. Part of the idea is to add value to the pitch with images to help the execs “get it.” Part of it is a little smoke and mirrors marketing, along the lines of “Hey, everyone wants ‘comics,’ so here you go. Now you can tell your bosses and cohorts that it’s all good. You’ve got next year’s IRON MAN — because you bought a ‘comic.’”
Also, don’t forget that AMERICAN SPLENDOR and GHOST WORLD were both comics, as well.
I realize this has skewed toward “comments on comments” as opposed to the article itself, but it’s a point that struck me. Despite what many posters say, the fact that SANDMAN and PREACHER haven’t been adapted yet doesn’t mean there’s no market for non-cape comics in Hollywood. We’ve got plenty of comics making it to the big screen and it’s just capes from the big two.
I’m with the crowd that thinks that DC’s library is deeper in unadapted titles and characters than Marvel’s. I would love to see Sandman, Preacher, Y The Last Man, and Ex Machina screen adaptations, but I don’t think any of them would be best seen as a 2.5 hour long movie.
I think the HBO/BBC miniseries would be the best route to go. HBO needs something to get their buzz back and a high profile comic-based miniseries might do that. Several of those titles have been included on lists of best books published in the past 20 years, so the literary pedigree is there.
Vertigo has gotten mainstream media coverage for the last issue of Y published in January. When was the last time a mainstream DC title got media coverage for a comic-only storyline?
Also, the Vertigo titles are some of the better selling graphic novels in DC’s library. Watchmen and Sandman have both gotten the coffee table Absolute treatments. The only other non-Vertigo DC titles that you see at a typical Borders/B&N might be some Batman ones including Year One, Dark Knight Returns, and the recent Killing Joke reissue.
sigh…
“and it’s *not* just capes from the big two.”
Whoops.
“V” for Vendetta…
The last time we got so many really silly comic book adaptations the heros were named Hopalong Cassidy, Zorro, The Cisco Kid, Roy Rogers (and Dale Evans)…
I much prefer Star Wars, Indiana Jones, and The League of Extraordinary Gentlemen.
You do realize that if they put a vellum cover on the ones that came in the mail, the comic book stores wouldn’t have any customers, AND the Comic book producers would be able to have a true “subscription” base.
I find it interesting that a couple of posters have evoked LEAGUE OF EXTRAORDINARY GENTLEMEN in a positive way, because everything about it seems to be a template for how NOT to do a comic book movie Read up on the behind the scenes lunacy on THAT film- the film started production without anyone involved having read the actual comic, using a script that seems to have been plagarized from another writer’s unproduced screenplay…which led to a lawsuit in which the COMIC’s creator got sued for the FILM PRODUCER’s actions! No wonder Connery quit the business in disgust soon after.( Not suprisingly, it’s also a really bad adaptation of a really good comic…)
BGY11 apparently knows nothing of the history of the comic book specialty market or the fact that the only real growth area presently in traditional bookstores is comics. He/She also seems very happy about showing this lack of awareness off.
“”DC CRISIS:
Fire PAUL LEVITZ and KAREN BERGER too!”"
It’s time for a massive ‘night of the long knives’ at DC!
Di Dio is a failed kids TV executive who has screwed DC right up, but he was appointed by the most cowardly executive in publishing, PAUL LEVITZ! This guy is so weak and gutless, he’s incapable of rising to the challenge of putting DC back at Number One!
KAREN BERGER heads the rapidly declining imprint VERTIGO, most of whose titles are lucky to sell over 10,000 copies. She’s a spaced out air-head… I’ve seen her at comic con panels, and she’s totally clueless!
Any hit comics are IN SPITE of her witless judgements…. She employs all these uptown hip “real writers” like the guy who wrote the crappy Testament, Douglas Rushkoff. They know nothing about comics, and it shows.
The bufoonish Grant Morrison is the unthinking man’s Alan Moore! None of his stuff sells at all, yet he is given carte blanche to fuck up all the main characters in the DC pantheon… If it wasn’t for the beauty of Frank Quitely’s art in All Star Superman, Morrison’s story would be unreadable.
DC: the Solution:
GET RID OF PAUL LEVITZ, DAN DIDIO, KAREN BERGER and shake it all up. These losers are a spent force, and totally new blood must be brought in, much as Joe Q was at Marvel.
“”Hey, WARNER execs reading this: Ya got it?”"
Ella – Warners has owned DC since 1969, so your comments about how “now that they [DC] are owned” DC is suddenly under more pressure to produce are ridiculous.
BGY11 – Both DC and Marvel were pulled into the direct market out of desperation. The industry came very close to perishing in the late 70s before the direct market emerged as a force. Comics disappeared from newsstands because, at the time, they were priced way too low to make it worth newsstand owner’s time to sell them. In the decade prior to Marvel’s move to enter the direct market in a significant way in 1979, virtually every comic book had lost half its circulation. If it wasn’t for the success of its Star Wars comics in 1977 and 1978, Marvel Comics almost certainly would have gone out of business. (DC Comics came close to collapsing as well, canceling more than half its line, 31 titles, on a single day in 1978)