I’ve spent the last few months praising the DC New 52 in one form or another. Months before the books came out, I was debating those who thought the reboot was anything from a simply bad idea to the end of the world, as we know it.

I defended the idea then and in fact over the last three weeks right here on ComicMix. I’ve supported the idea and got into a heated battle with Marc Alan Fishman over the new 52.

Yesterday was Marc’s lovely wife Kathy’s birthday. Happy birthday Kathy and here’s your present…

Marc was right.

The DC New 52 sucks.

Everything about the New 52 is horrible.

I’m going to take a random decision made by DC, a totally arbitrary completely chance judgment they have made to make my point that the entire New 52 is the worst thing to happen to comics since Fredric Wertham and the Spirit movie.

Now. What completely indiscriminate, unplanned, hit or miss just off the top of my head move has DC made with the New 52 that has made me see the light of their atrocious affront to the entire comics, nay, the entire entertainment industry!

Let’s see, lets see, what needle can I grab in a haystack of bad moves?

What?

What?

What??

Got It!!!

DC comics cancelled Static Shock!!

Full disclosure: I co-created Static Shock and wrote the original Milestone bible and named all the characters after my family but that has nothing whatsoever to do with my deciding to use Static Shock as an example as to why I changed my mind about the DC 52. My history with the character is beside the point.

No, I did not like the new Static Shock book after John Rozum left and no, I did not say I didn’t like it before DC cancelled the book for fear that the opinion of one of the creators would affect the sales but that’s besides the point.

The point is DC cancelled Static Shock and that’s just one of the reasons I was wrong about the New 52.

My other reasons?

That’s beside the point.

The little support from the millions of Static Shock fans out there is no reason to cancel something I created! The reason it’s no reason is beside the point. Losing half the sales from issue one is no reason to cancel a book where my Mom was the inspiration for Static’s mom. The sheer audacity of DC comics to cancel a book where I have a vested interest in is why the DC New 52 is horrible. Why that matters is beside the point.

Why not cancel the Justice League? So what if the book is selling in the hundreds of thousands? I don’t like it anymore! The fact that I liked it (loved it) before they canceled Static Shock is beside the point.

There that is my unbiased and completely unprejudiced reasoning behind my change of heart regarding the DC New 52.

You were right, Marc. What was I thinking? Happy Birthday again Kathy, you are married to a very wise man.

WEDNESDAY: Now Mike Gold Takes On John Ostrander

Cover: Alex Ross

Cover: Jae Lee

In the first issue of the new ongoing The Shadow series, it’s 1938 and The Shadow returns in a tale of blazing action and deadly intrigue, as a night of carnage on the New York waterfront plunges the mysterious vigilante into a conspiracy involving the fate of the world itself. As storm clouds gather across the globe, American Military Intelligence meets with a certain Lamont Cranston, determined to beat a host of spies and assassins to the greatest prize of all… but what that might be, only the Shadow knows. Be sure to get The Shadow #1 in April 2012!

Written by Garth Ennis with art by Aaron Campbell. Cover art provided by Alex Ross, Howard Chaykin, Jae Lee and John Cassaday.

Learn more about Dynamite Entertainment at http://www.dynamite.net/.

Click on images for a larger view.

Cover: John Cassiday

Cover: Howard Chaykin

First off, to paraphrase John Ostrander:

God Bless Mike Gold.

Okay. Now….

One thing about being a writer.

Deadlines.

If you want to be considered a professional, you need to understand that deadlines are part of the job.

There have been a few times in my writing life where I have missed my deadline. It doesn’t engender good feelings on anyone’s part.

Missing a deadline is like being Aaron Rodgers in yesterday’s Giants/Packers game. It’s throwing one too many turnover. It’s getting sacked one too many times. It’s knowing that you’re letting down your teammates who are depending on you. In the comics world, it’s not just your editor, who will have to answer to his or her boss. It’s letting down the artist, the penciller, the inker, the colorist, the letterer. It’s letting down the production department. The scheduling department. The printers. The distributors.  It’s letting down the comic shop owner is dependent on monthly arrivals of books on a monthly schedule to help meet their monthly budget, including expenses and net profit.

Most importantly, it’s letting down your readers.

Remember 24? Each week the hour ended with a terrific cliffhanger, and the next seven days were murder. You haunted all the spoiler boards. You got into heated discussions on your favorite 24 message board about what could be next, how Jack was going to get out of this one. You twisted your brain trying to outwit the terrorists that are about to set off a nuclear bomb in Port Newark.

It’s the same with comics. Think about the last time you were heavily involved in some storyline that ended each month in a terrific cliffhanger. You can’t wait for the next issue.

And like any good comic geek, you talk about it all day and all night, surf the web looking for information on what’s coming up next, write the next chapter in your imagination.

And then you walk into the your friendly neighborhood comic shop and the proprietor tells you that the issue is delayed.

How many times has that happened?

What was your reaction?

Lots of cursing, I bet. Lots of swearing that you’ll never read an issue of fill-in-your-favorite-book-title-here again. And then you go home and log on to your favorite fan site and let everybody know what a dick the writer is, and not only will you never buy an issue of that comic again, you’ll never read anything by that dick again, you’ll never even buy a comic from that dick company again!!!!!

And then sales go down, and the comic is cancelled. The writer loses his or her job, the artist moves on to the next thing if he or she can, the editor is hauled into his or her boss’s office, and the domino effect continues. All the way down the line.

And just maybe because a deadline was missed once too often, your neighborhood comic book shop closes. And now someone else is out of work.

And most likely the penciller, the inker, the colorist, the letterer will get more work. The production department will move one. So will scheduling, and the printer, and the distributor. Even the editor will move on.

But the writer, the one who came up with the brilliant idea, the one who made the story come alive in the first place?

You’ll have the Mark of Cain on you. Oh, yes, word gets around.

And the only writing you’ll do is the weekly shopping list.

Oh, and writing out the checks.

If you can afford it.

Yeah.

There’s a reason why they’re called DEADlines.

TUESDAY: Michael Davis

I read an article in Entertainment Weekly about the collective failure of the Christmas movie season overall. Some, like Mission Impossible: Ghost Protocol, did well and some, such as The Adventures of Tintin, did much better overseas (where Tintin is a better known commodity) than domestically. EW opined a variety of possible reasons, including the economy and the concept that there wasn’t a real “tent-pole” movie. However, there were some really good films out – Hugo (which I loved), for one, and The Muppets. I have a thought on another possible contributing factor.

I know a number of people who will wait for the DVD of a movie or to see it on their computer, tablet, or smartphone. It seems to me a whole generation would almost prefer to see it that way now. And I can’t help thinking that’s a mistake.

Mind you, I’ve seen many movies that I missed in the theater via DVD, Sometimes, it doesn’t matter. A smaller intimate film can work just as well on a small screen. I probably won’t get to see Tinker, Tailor, Solider, Spy until it gets to my TV screen and I think that will be alright. However, I know other films suffer.

For example, I’d seen John Ford’s The Searchers for years on the small screen and loved it. One of John Wayne’s best performances (and, yes, folks, the man could act). Several years ago, I got a chance to see it in a movie theater in a restored print. The impact was startling. Yes, I knew about John Wayne’s charisma but you don’t really feel it until you’ve seen a close up of Wayne in this movie and the image is the size of a house. And the final shot – Wayne with his back to us, framed by a door that slowly shuts – well, until you’ve seen it on the big screen, you haven’t really experienced it.

Seeing the climax of Casablanca, with those big head shots of Ingrid Bergman, Humphrey Bogart, and Paul Heinreid cross cut from one to the other, has far greater emotional impact on the big screen.

It’s not just the images, either. With the surround sound you get in the theaters today, you’re really enveloped in the movie. Think of the opening of Star Wars, the original one (a.k.a. Episode IV, a.k.a. A New Hope) – the blast of the initial theme, the crawl that recedes into infinite horizon, and then the first space ship darting out and it seems forever only to be followed with an even bigger space ship, and the sound and the music and all sucking you in. Magic. The first time I experienced that, I was hooked.

I don’t see how you can get that on a smaller screen. When I watch movies on DVD that I’ve seen in the theaters, I bring with me the memories of what that theater experience was and it enriches the viewing that I’m having with on the smaller screen. If it comes to a choice to seeing a movie only on DVD or a movie channel or not to see it at all, I’ll take the small screen experience and do it happily. It gives me an experience of the movie – but I know that it’s not the same as seeing it in the movie theater where it was intended to be seen in the first place.

There’s one final aspect of the theater experience for movies and I’ll be the first to say it’s not always positive – it’s a communal experience. It’s a shared experience with others. Yes, some of those others can be boorish morons. I’ve had the people near me who continue to chat through the film, having a running commentary about the film or about some imbecilic portion of their daily life that could just as easily wait until they were outside. It’s become a good reason why I should never be allowed to carry a gun. Yes, I’ve had people who forget or refuse to turn off their cel phones and who chat or text through the film, oblivious and/or indifferent to the fact there are other people in the theater. Maybe if they could pull their heads out of their digital asses, we’d all be happier.

But I’ve also been with audiences that add immeasurably to the experience. We laugh, gasp, cry, cheer and so on together. The film finds bonds in common between us and that is something devoutly to be wished in this day and age when so many things around us keep tearing us apart, putting up walls, and suggesting we are all enemies.

The people making the movies meant for us to see it in a theater. That’s where its truest experience lies. I’ve heard of so many people today who simply shrug that off and all I’m saying is that I think that’s a mistake and they’re shortchanging themselves.

Treat yourself if you can. Go out to the movies.

MONDAY: Mindy Newell

Hack/Slash is coming to the silver screen, and that Conan guy is getting him there.

Director Marcus Nispel, responsible for the 2011 remake of Conan The Barbarian (you saw that one, didn’t you?) has signed on to this latest adaptation of a big-time Image Comics title initially published by Devil’s Due. He replaces Fredrik Bond, who evidently thought better of the project.

Written by Martin Schenk, Stephen Susco, Justin Marks, Benjamin Magid and Todd Lincoln (thus far), the movies is scheduled for release next year.