Superman earth one de Michael Straczynski et Shane Davis (et Batman earth one)

Premier aperçu. Ambiance résolument "réaliste", mélodramatiquement dark et hype.. Interessant je trouve comme ça, à voirr.

http://www.wired.com/underwire/2010/09/superman-earth-one/?pid=790&pageid=45314&viewall=true

Titre de top inspiré de Drz du superhero hype: Welcome to year one!

j'aime bien le graphisme
a voir pour le reste

J'aime bien tout en fait pour le moment

ça va me donner l'occaz de me mettre dans superman
plus qu'à attendre la venu en france du titre

Interview de J. Michael Straczynski: sur son approche de superman

Citation :

So I like to look at why a great deal. When DC and Dan DiDio approached me about writing a Superman GN that would in essence reboot the character, why was the first question I went to. We all know that Clark Kent is Superman. But why is he Superman? What prompted him to put on that uniform? Why did he decide to become Superman? What was, for lack of a better term, his Garden of Gethsemane moment? Like Saul on the road to Damascus, what caused the scales to fall from his eyes and reveal his destiny, bringing a new name and a new mission?

The GN, therefore, begins with Clark's arrival in Metropolis at age 21, with his whole future ahead of him. He's had to hide his skills all the earlier years of his life, when he was learning how to control them, but now he can and he can be anything he ever wanted. For the first time, he can step out into the light and use those skills in measured ways to earn a living and create a lifestyle that can reward his family for taking care of him all these years. He could become the best-paid, most successful athlete in human history. He could become a leading research scientist. He could have it all. Or he could put on that uniform, show the world all that he is...but in so doing, end up dedicating himself to a life of service rather than money. At some point in time, he had to make that decision. So we show the process leading up to, and following that decision.

Along the way, we go to his backstory, how he was found (some small changes here, but nothing outrageous), how he grew up and discovered who he was, and we again ask the why question. We know that Krypton was destroyed, but why was it destroyed? Was it an accident? Do planets just up and blow up one day? Or is there something more that we don't know about? Was it a natural event...or a hit job on a planetary scale?

http://www.newsarama.com/comics/JMS-Week-Superman-Earth-One-100216.html

Merci à Drz

En somme le gars résume clairement tout ce que Smallville n'est pas, ce qu'il aurait dû être au lieu de ce merde que la CW nous sert depuis une décennie ...

Perso ca m'intéresse grandement, autant les images que l'histoire en elle-même, en attendant une sortie de ces planches en Belgique ...

Oulaaaa je viens de trouver des images de Batman Earth One :

Citation :

Batman Earth One is being written by Geoff Johns with art by Gary Frank.

http://my.spill.com/forum/topics/superman-and-batman-earth-one?xg_source=activity

Et je viens de trouver une interview de JMS et de Geoff Johns sur Superman Earth One et Batman Earth One:

Citation :

SUPERMAN AND BATMAN: EARTH ONE STANDALONE GRAPHIC NOVELS COMING IN 2010; INTERVIEWS WITH J. MICHAEL STRACZYNSKI AND GEOFF JOHNS
Thursday, December 10th, 2009


DC Comics announced two major graphic novel releases for 2010: “Superman: Earth One” and “Batman: Earth One”. Both stories will feature DC Superheroes Superman and Batman reborn “with their first years and earliest moments retold in a standalone, original graphic novel format, on a new earth with an all-new continuity.”

“Superman: Earth One” will come from the creative team of writer J. Michael Straczynski and artist Shane Davis.

“Batman: Earth One” will be crafted by writer Geoff Johns and artist Gary Frank.

Check out these interviews with J. Michael Straczynski and Geoff Johns:



Q&A WITH J. MICHAEL STRACZYNSKI ON “SUPERMAN: EARTH ONE”

Q: Tell me a little bit about the premise behind SUPERMAN: EARTH ONE.

J. Michael Straczynski (JMS): There’s this notion, which has really become a kind of accepted cliché, that as soon as you get powers, you put on a superhero (or super-villain) costume and you’re off to the races. But logically, there would have to come a moment when you have to decide if you actually want to do that, or if you should do that. It’s that moment in the Garden of Gethsemane where you have to decide if you want to endure everything that’s going to happen to you if you decide to expose yourself.
Clark comes to Metropolis in his 21st year to decide what he really wants to do. And this is someone who can be anyone, do anything. If he keeps his background secret, as he’s done for the preceding 21 years, he can be the best athlete the world has ever known, he could be the next Stephen Hawking, could take away the golf crown from Tiger Woods, create patents that could earn billions. He can finally step out of the shadows and into the light.
By contrast, if he chooses to become Superman, then Clark must live forever in the shadows, dedicated to a life of service and self-sacrifice that could eventually get him killed. That’s a hard choice for anybody to make, let alone a 21 year old kid who wants to look after his mom and is lured by the idea of money and success and fame. So the story is about Clark’s Gethsemane moment, when he has to finally make that choice, why he makes it, and what follows after.
Against this backdrop, we flash back to his life growing up in Smallville, so we can see how the Kents helped mold him and protect him and get him to a point in his life where he can finally make this most difficult of choices.

Q: How is your take on the younger years of Superman going to be different than previous takes on his origin?

JMS: This is probably one of the most often told and re-told stories in comics history, so you have to be careful to preserve what’s established while trying to find areas where you can bring a fresh approach. But I’ll be straight up with you: I’m not here to change his story into something it was never intended to be so that I can “make my mark” on the character. It’s about respecting the character and his origins. Especially for me, since Superman has always been my number one icon growing up as a kid. Coming from poor surroundings and circumstances where everybody says “forget this idea of being a writer, guys like you who come from nothing always end up at nothing,” Superman was what I held onto, the idea of someone who could do anything. My house is filled with enough original Superman artwork, memorabilia and other stuff to constitute a museum. It’s probably one of the biggest Superman collections on the Western Seaboard, not because of the collecting instinct, but because that’s how much the character has meant to me over the years.
(True story: I was at Chicago Comic-Con a number of years ago, standing in the dealer’s room, when some guy grabbed a bunch of expensive items off a table and made a run for it down the aisle, being chased by the owner of the table. Everybody in the aisle did a fast fade, parting before this guy like the Red Sea. I brought the mofo down and the two of us held him for the police. The con organizer later came up to me and said, “Why’d you do that? He was half your age and twice as big, you could’ve been hurt.” I pointed to where I’d been standing, in front of a ten-foot-tall cutout of Superman. “How could I stand under that, in front of him, and do nothing?” I said.)
So to the point of your question, what I’m trying to do is to dig in to the character and look at him through modern eyes. If you were to create the Superman story today, for the first time, but keep intact all that works, what would it look like? As a fledgling writer I used to love going to see productions of Shakespeare because what would often be done would be to take that original play and move it forward in time. So you could have “Two Gentlemen of Verona” set in pre-WW2 Italy…you could have a female Hamlet…or as was recently produced for film, “Richard III” set in a corollary for Nazi Germany. And suddenly the lens through which you view those stories, those plays, colors and changes how you perceive them without changing anything essential.
Here, of course, we’re doing more than that because we’re not sticking to a script, but the idea is much the same. So in the case of Superman, you take all those elements that work, and infuse them with a modern sensibility, how it would be written today, this minute, if it had just been created for the first time. If I have any one particular strength as a writer, it’s taking someone of massive power and making them relatable, sympathetic and vulnerable while not taking an inch away from that incalculable power.

Q: Are there aspects of Superman’s origin that you purposefully left out for the sake of your story?

JMS: The only substantial thing I’m leaving out is the notion of a Superboy. Here, the first time Clark puts on that uniform, it really is his first time.
In reflecting further on the question of changes, probably one of the most changed characters is Jim Olsen, and the most changed atmosphere is that of the Daily Planet. Having worked as a journalist for nearly ten years, I know what a news room is supposed to feel like, and my one ongoing complaint about comics set in those environments is that you (or I) could tell that the writers had never actually worked for a newspaper.
And in any newspaper, the one guy who is the most dangerous guy to stand next to is the photographer, because they’ll go anywhere and do anything to get the shot. I recently saw footage where a press photographer was at one of those races that go through city streets, and a car spun out and came right at him. He kept taking pictures as the back end hit the wall to his right, spun out, and the front hit the wall to his left, barely missing him by inches. He never once stopped snapping photos. A good newspaper reporter keeps shooting no matter the danger, so I’m bringing that aspect into Olsen.
The rest of the staff look, act and talk like actual reporters now, and that’s a lot of fun. And when we join our story, the Daily Planet is on the downward slide…it’s where new reporters come to learn and old reporters come to die. It’s what begins to happen in the aftermath of Superman’s appearance that starts to reverse their fortunes.

Q: How do you deal with the delicate tightrope walk of telling stories that matter vs. not straying so far from the status quo that you don’t recognize these iconic characters anymore?

JMS: I think it’s a matter of respect and keeping the character first. Again, you don’t change things just so you can say “I changed that.” You have to ask if it proceeds from character. So for instance, one of the elements of the story is the fact that growing up, Clark would have been even more of an outsider than we’ve seen previously. Every kid gets in schoolyard fights, but Clark would have had to walk away or just take the punches, because if he slipped for even a second, he could kill the other kid. This would have gotten him a reputation as a coward, a weirdo, and he’d have to hear that every day in the schoolyard…and the one thing you know as a kid is that you don’t hang with the cowards or the weirdos. So he would’ve lived a very solitary, rough, and very controlled life, because even a brief lapse could have disastrous consequences. We see a very real sense of isolation in him, which informs his arrival in Metropolis which represents the first time when he can choose the life he wants, rather than having to endure the life he had to endure.

Q: How does SUPERMAN: EARTH ONE fit in with current continuity? The name suggests that it could be either part of it or an all new start from square one for the character.

JMS: At this juncture, the book operates outside DC continuity. At some point way, way down the road, some of that may be folded in, but again that’s a long ways away.

Q: It seems there is a pretty even split when it comes to whether someone is a Batman fan or a Superman fan. What is it about the character of Superman that appeals to some but not others?

JMS: I think it’s a difference between power fantasies and revenge fantasies, with Superman more the former, and Batman more the latter. Not to belabor the previous point, because we all have our childhood horror stories, but I grew up in the mean streets of Newark and Paterson and some of the poorer parts of other towns. We moved 21 times in my first 17 years. Guys like me didn’t become writers, they ended up pumping gas or working in machine shops. It was a dead-end lifestyle filled with no. So on the one hand, there was no one I wanted to get revenge against…I just wanted a chance to be somebody, a chance to learn to fly, and to become someone who couldn’t get hurt. So I latched on to Superman at a very early age. I’ve said it before, and it’s true: most of my morality I learned from Superman. One of my very earliest memories is an image from a Max Fleischer Superman cartoon where he has his cape over Lois, protecting her from molten metal. I searched for that image for decades before I found it and it’s one of the first things you see when you enter my home…that and a mountain of Alex Ross and Curt Swan artwork, and The Triptych: a sketch of Superman signed by Siegel and Shuster, with an autograph by George Reeves tipped into it.

Q: Can you tell me a little bit about the art in this one and how you worked with artist Shane Davis?

JMS: Because I tend to write from emotion to action, I live or die by the degree to which the artist is able to express emotion. So when Dan DiDio and I began the process of finding an artist, that skill was number one on the list. As soon as I saw Shane’s art, I knew he would be right for this, because he can not only get that degree of expressiveness, but he’s also really great on action and composition. There’s an insane amount of detail in his work. We had a lot of back-and-forth in terms of character design that led to some really cool stuff.

Q: How do you respond to criticism you’ve received for delayed titles that you’ve penned? Was it easier for you to write in this graphic novel format than the monthly grind?

JMS: Let me dive into this for a second, because this is a sore point with me. I was on AMAZING SPIDER-MAN for over eight years, and with only a couple of small glitches that book came out like clockwork. BULLET POINTS: on time. SILVER SURFER REQUIEM: on time. MIDNIGHT NATION: on time. BRAVE AND THE BOLD: on time. When I took on THE TWELVE, I wanted to do it the same as BP and SSR: let me write it all the way through, get most of the art done, then announce it, because in particular I was concerned that there might be some conflicts in scheduling not just with me but with the artist. But when PROJECT SUPERPOWERS was announced, the powers that be at Marvel decided to go ahead before it was ready, and what I was afraid would happen, happened. He got busy, I got busy, then he got busy again, then I got busy again, and it fell off the grid. (Note: the last scripts will be in by year’s end.) With Thor, I’ll take the rap for a couple of delays, but Marvel also delayed the book to buy time to find another artist. Between the time I finished the script for the last issue, for instance, and its publication, almost four months went by. I have the timestamp on the file to prove it. That ain’t my choice, but I get the rap for it.
With all that being said, for me, it’s best to do it then announce it, so there are no delays. So when DC came to me about this project, I felt it was important to again say nothing specific about it until it was nearly done. As I write these words, the script is very close to being finished (we’re talking a book of well over a hundred pages), and we’ve got oodles of art finished.

Q: The graphic novel format has been a preferred reading experience for a growing number of fans. Trade-waiting is a pretty common term I hear thrown around these days. What do you think; does the release of such a high profile product in a graphic novel format signify the end of the monthly single issues?

JMS: Not at all. It’s like saying that the production of movies signifies the end of dramatic series TV. Each serves a different need, and fills a different niche. If there’s anything that is signified by trade-waiting, it’s that we need to write better stories. If a reader can wait until it’s all done to buy it, then we’re not doing our jobs right. We should be writing stories that the reader can’t wait to buy as soon as the next installment hits the stands, and then at the end, wants to gather together for ease of re-reading. If a reader can wait it out, then we as creators need to re-evaluate our work. Seriously.




Q&A WITH GEOFF JOHNS ON “BATMAN: EARTH ONE"

Q: So what is BATMAN: EARTH ONE all about?

GEOFF JOHNS (GJ): It’s Gary Frank and I joining together to be a part of the first line of ongoing graphic novel series ever from the big two.
BATMAN: EARTH ONE is more in line with the European idea of releasing chapters of an ongoing series in graphic novel form. We’re planning on doing two novels a year and set in this new universe, we’re getting unlimited creative freedom that we couldn’t have in current continuity.
When Dan Didio asked if Gary and I would be interested in something like this we were onboard immediately. We’re taking on Batman, and the world around him, and rebuilding it from the ground up.

Q: How do you make an iconic origin like Batman’s fresh and different than previous takes on the story?

GJ: Our Batman is a decidedly different Batman yet it is, of course, Bruce Wayne.
I want to let the book will speak for itself, but Batman, Alfred, Detective Gordon, Arkham Manor, the twisted origin behind Gotham City, the Bat-Mobile and, of course, the world’s greatest group of villains are all a part of the world we’re creating. Some of it the characters will more closely resemble the classic interpretations while others will be wildly different. We’re introducing a lot of new characters and elements to this Batman.
The first graphic novel features an entirely new villain.

Q: Apart from event books and maybe the occasional guest appearance or team book appearance, this is the first time I recall you doing a Bat book. What was it about this project that finally attracted you to Gotham?

GJ: Three words: “Gary Frank” and “freedom.” Obviously, I love long form storytelling. I gravitate to projects I can dive into and reinvent and add to, like Green Lantern. I’ve wanted to work on Batman, but I wanted to wait until the project was right. BATMAN: EARTH ONE allows Gary and I to break the restraints of any continuity and focus on two things: character and story. Add to that the idea of working on a line of graphic novels instead of being limited to twenty-two pages, it’s a challenge and I love a challenge.

Q: I know you’re a multiverse freak. How does BATMAN: EARTH ONE fit in with current continuity? Is it another universe, an Ultimate/All Star style take, or something completely different?

GJ: All of the above.



(Click image to embiggen)

Q: I’ve observed somewhat of a split between those who like Batman and fans of Superman. What is it about Batman that appeals to so many readers?

GJ: I think the grounded nature of Batman. And if there is one word that might sum up our version of Batman it’d be grounded.

Q: The Joker: insane or sane? And will he be showing up in BATMAN: EARTH ONE?

GJ: If anyone knows my work they know how much I love villains. I’ve been dying to crack into the best rogues’ gallery in comics for years. Eventually, yes — you’ll see the Joker, but the first well-known villain we’ll be focusing on early in the BATMAN: EARTH ONE graphic novel series is the Riddler.

Q: Gary Frank has been one of my favorite artists since his INCREDIBLE HULK run. Can you tell us a little bit about how you and he collaborated for this project?

GJ: First off, Gary Frank is one of the greatest partners-in-crime a writer could ever ask for. The amount of thought, care and effort he puts into his work along with the brilliance of his talent makes him someone that I’m chaining myself to. My aspirations are nothing less than to work with Gary Frank until I’m dead.
The fact is, Gary Frank is the single best Superman artist of this generation, but he’s actually a Batman guy. Before we started Superman, we’d talk about Batman at length. We’ve spoken about ideas for Batman since we started working on Superman together. We started brainstorming this project before it even started, discussing what we would do with Batman and where we would take him.

Q: After doing this project, which do you prefer writing: monthlies or graphic novel sized stories?

GJ: Ask me again in five years.

Q: What does this graphic novel format say about where the industry is going? A lot of folks are waiting for trade these days. Is this the first step of DC dropping monthlies and cutting out the middleman and going straight to trade?

GJ: I don’t think it has to be the case with either or. Monthlies, graphic novel series, digital, etc. DC is exploring every avenue of publishing. It’s a changing market, but it’s an expanding and growing market, and I’m psyched to be riding the wave up front with Gary and Batman.

[Source] DC Comics, AintItCoolNews

http://scifimafia.com/2009/12/superman-and-batman-earth-one-standalone-graphic-novels-coming-in-2010-interviews-with-j-michael-straczynski-and-geoff-johns/

Yes yes thanks d' avoir posté sur Batman earth one Tom, j'avais déja vu perso, mais bizarrement pas trop interessé par contre pour le moment. a voir quoi surtout que Gary Frank est bon et Geoff Jones too (cela dit le costard )

J'avais lu pas mal de choses en fait qui faisait penser énormément pensé à une autre version du year one de Miller, en plus hype. me semblait un peu gratos pour le coup certains truc (comme le alfred bas ass) mais why not, surtout que je serais assez interessé par contre par voir le riddler comme villain "principal".

Tayelore a écrit:

Premier aperçu. Ambiance résolument "réaliste", mélodramatiquement dark et hype.. Interessant je trouve comme ça, à voirr.

http://www.wired.com/underwire/2010/09/superman-earth-one/?pid=790&pageid=45314&viewall=true

Intéressant en effet. A voir le développement mais l'approche me semble pas mal du tout.
Et puis je trouve super de voir qu'à quelques années d'intervalles il est possible de le traiter le personnage de manière aussi différentes que l'on fait Grant Morrison avec All Star Superman et Straczynski sur ce Earth One. Je crois que pour le coup c'est sûrement la vraie richesse du catalogue DC.

Hâte de lire le Batman également (même si je tique un peu sur le Alfred, je trouve le costard pas mal pour ma part hormis ce sempiternel retour au logo jaune et noir).

Citation :

Anyhow Baltimore Comic con info:
- Superman: Earth One is 136 pages long, 125 pages of story.
- "It's all looking at Clark as a 21 yearold deciding what he'd do with his superpowers and why".
- Shane Davis tried his best to keep the visual style new, fresh and unique.
- Metropolis is a city thats been Shane Davis said has been inspired globally by every city. I guess what he was saying is: It has Chinatown and everything. Huge variety of city styles from Retro to whatnot. <_< I'm not perfectly sure, but here's the exact quote: "Metropolis, what does that word mean, so I built it was building from all over the world."
- Metropolis is also inspired by Science fiction abit.
- Davis: "This isn't just a retelling of his origin at all, it's about a period of his life that DC has never really explored"
- Superman Earth One will also introduce new villain(s) to Superman.
__________________

Merci à drz

Citation :

Batman Earth One Info:
- Gary Frank has done 21 pages OUT OF a 125 page story.
- Bruce is a cocky spoiled rich kid with toys. Unlikeable according to Gary Frank.
- Alfred is the main badasss here. Bruce is awe-shocked and abit frightened by Alfred Pennyworth's sheer manhood. By manhood ofcourse i mean that this guy has traveled the world and has military experience among many things. The book really deals about how Bruce and Alfred develop as characters.
- Batman's first costume will be very primitive. He doesn’t really know what he’s supposed to do. He’s a young man, he’s an angry, young man and obviously for some strange reason he’s decided the best way to go about making himself feel better is to dress as a bat creature and go and solve crimes.

Hmmm non je ferme ma gueule, ça j'avais pas lu, j'avais vu surtout vu que Batman merdait pas mal au début comme dans Year one. on dirait encore du Miller (de All star) en un peu plus pensé moins harcore nawak juste parce que c'est cool. Why not, why not.

JKKS a écrit:

Intéressant en effet. A voir le développement mais l'approche me semble pas mal du tout.
Et puis je trouve super de voir qu'à quelques années d'intervalles il est possible de le traiter de manière aussi différentes que l'on fait Grant Morrison avec All Star Superman et Straczynski sur ce Earth One.

Exactement ce que je me suis dit tout à l'heure

Tayelore a écrit:

Citation :

Batman Earth One Info:
- Gary Frank has done 21 pages OUT OF a 125 page story.
- Bruce is a cocky spoiled rich kid with toys. Unlikeable according to Gary Frank.
- Alfred is the main badasss here. Bruce is awe-shocked and abit frightened by Alfred Pennyworth's sheer manhood. By manhood ofcourse i mean that this guy has traveled the world and has military experience among many things. The book really deals about how Bruce and Alfred develop as characters.
- Batman's first costume will be very primitive. He doesn’t really know what he’s supposed to do. He’s a young man, he’s an angry, young man and obviously for some strange reason he’s decided the best way to go about making himself feel better is to dress as a bat creature and go and solve crimes.

Hmmm non je ferme ma gueule, ça j'avais pas lu, j'avais vu surtout vu que Batman merdait pas mal au début comme dans Year one. on dirait encore du Miller (de All star) en un peu plus pensé moins harcore nawak juste parce que c'est cool. Why not, why not.

A priori je trouve l'histoire des origines de Batman bien plus casse-gueule que celle de Superman dans la mesure ou le personnage de Batman m'a toujours semblé être celui qui était le plus le produit de son histoire.
Après, je trouve intéressante l'optique de Johns (qui est très proche de celle de Nolan) de considérer que Bruce Wayne ne devient pas Batman pour éradiquer le crime ou venger le meurtre de ses parents mais simplement parce qu'enfiler ce costume est au fil du temps devenu la condition sinae qua non de sa survie.

J'avais longtemps regretté qu'il n'y a pas de scène montrant Bruce prêter serment dans Batman Begins, d'éradiquer le crime qui avait emporté la vie de ses parents, avant de réaliser que le parti-pris (probablement le plus nihiliste possible) de Nolan était aussi ce qui faisait la réussite du perso.

Donc good si Johns suit cette voie.

And by the way, je ne dis pas non à une section dédiées aux comics.

Ah tiens Jkks j'y pensais aussi à une section dédiées aux comics, certaines personnes ici ont des connaissances assez développées en matière de comics et perso j'aimerais bien voir leurs visions de telles ou telles comics, GN, les conseils qu'ils peuvent donner, quel livre choisir .. Voir même quel comic on aimerait voir adapter

Autant j'aime bien le Superman mais j'ai un peu de mal avec Batman...

http://dcu.blog.dccomics.com/2010/10/15/process-piece-a-look-at-superman-earth-one/#more-11672

Très intéressante cette version réaliste de Superman, le premier aperçu donne une sensation de profondeur saisissante ou l'on peut prendre le temps de contempler la peinture et toute l'intensité de l'œuvre.
C'est magnifique !
J'adore le travail de Gary Franck, il existe un excellent arc sur la légions dans lequel Superman arrive en l'an 3008 pour aider un groupe de super héros traqué par les autorités. Un monde placé sous le signe de la terreur ou chaque jeunes surhumains essayent de se cacher. Mais le problème c'est que dans ce futur là, Superman est vulnérable ! Une trame intéressante à voir au cinéma, dans lequel on aurait à la fois, un Superman privé de ses pouvoirs (temporairement), un environnement assez agité et complètement nouveau.

Critique dythirambique :

Citation :

SUPERMAN: EARTH ONE Vol.1
Writer: J. Michael Straczynski
Art: Shane Davis
Publisher: DC Comics
Reviewer: Optimous Douche
Reset...

Thank you, DC. Even though this masterful retelling is being touted in the marketingverse as "accessible to new readers" (which it is), as a man that has followed the adventures of Superman for the past thirty years, this is the first time since I picked up that very first issue I felt such an electrical charge of elation, glee and wide-eyed wonder coursing through my body.

Yes, we've seen Superman resets countless times over the years in the form of Elseworlds, SECRET ORIGINS, and the former love of my life ALL STAR SUPERMAN. But this is different. This is not simply Superman’s famed rocket veering off course; EARTH-ONE possesses a fierce conviction to present our actual universe. And therein is the secret to its sheer power over the page.

The main DC universe (Earth-Prime) stopped being our world back in 1938. And that’s OK, it is what it is, shame on us for constantly trying to pull it back into “reality”. Comic fans are impossible to please; we bitch in clear choruses that things are becoming stale, yet turn into rabid dogs when a writer breaks from a character’s norm (c’mon, we all remember the cacophony of FU’s thrown at mullet Kent). No matter how many Crises or collapsings of canon DC throws at us, Earth-Prime can’t change; it has become a universe as real as our own that gains renewed sustenance from a perpetual return to the status quo. The current issues of “SUPERMAN walking” are a prime example of this phenomenon. How new and exciting can anything be in a world that knows at all times gods walk among us and the universe is an endless sea of sentient life and miracles? I don’t think Superman is walking out of guilt from the cancer lady or losing New Krypton; shit, I would take a stroll for a year if I knew I had to spend eternity as a thirty year old boy scout.

I’ve repeated time and again in this column that DC has needed this reset to save Superman from his eternal corn husks and awww shucks existence…and to save us readers. As much as I loved SECRET ORIGINS and ALL STAR SUPERMAN, they are still a representation and deconstruction of Earth-Prime canon; they are essentially my father and my grandfather’s Superman. SECRET ORIGINS strictly adhered to the Donnerverse. It was a world that was already ahead of our own by the time Superman appears on the scene. Lex Luthor was already building Metallo for God’s sake…there’s nobody in our world building sentient robots; the smartest robots we have are Roombas and that annoying dancing robot from Honda.

ALL STAR SUPERMAN stayed away from Donner, but again it was based firmly in a world that is not our own. A world where there are hippy space researchers and ray guns that can perform miracles. An expedition to the sun? Please, we can’t even get our shit together to get back to the moon. These were both amazing adventures, but they were firmly steeped in past fiction. EARTH-ONE represents the future of Superman, and sales figures willing, the future of how we consume comics. JMS has created a brilliant breathing world of consequence and DC is delivering this vision in epic scope. Now if you have some kind of sullen emo hatred of Superman, there are no words that will convince you to read this book. But if you love comics and more importantly want to witness the genesis of what could be the next great comic universe (with the right care and nurturing), then get ready for a trip to EARTH-ONE.

Earth-One is simply real. It is a world that was unprepared for Superman and recognizes that his existence is a new genesis for humanity. Earth-One has known nothing fantastic, it lives alone in the universe, and its inhabitants are uninspired drones living in an endless cycle of work, rinse, repeat…die. Sound familiar? Good, now you are in the right frame of mind to meet Clark Kent.

Are there tropes in this origin? Yes--it's Superman. Stop asking stupid questions. I mean you if you decided to rewrite the story of Jesus, at some point he would have to die and come back to life, otherwise all you would be writing is the story of a guy with a beard that likes bread. Tropes abound, but JMS elevates these tenets of the Man of Steel beyond the dated parodies they’ve become in Earth-Prime. Essentially JMS does what he does best; he delivers the “why” behind the what. There are things we can explain today that two generations ago were the stuff of science fiction. What makes Kryptonian technology so advanced? Well, it’s not “just because”, or the fact crystals not only heal old hippies, they are also the data storage device of choice by disco aliens. Instead we see Kryptonian technology rewrite what we know about nanotechnology and the sub-atomic universe. When Siegel and Shuster put the big S in tights oh so many years ago, the circus outfit worked since that's where you went to see flights of fancy. JMS takes even this small passé element and puts an explanation in place that makes more sense than any past attempts at modernizing Supe’s duds. Why did Clark end up at the Daily Planet? In our grandparents’ day it was explained with gumption and a grin, and that worked for them, that was how you selected a career back then. A wee bit of innate talent coupled with some hutzpah and — poof — you were a reporter. As any twenty-something today knows though, career paths are not that clear, especially when that twenty-something has the ability to do anything he wants. Clark becomes a reporter out of necessity instead of a shoe-horned juxtaposition to his mild-mannered personality. Hell, even Clark’s horrific use of glasses as a disguise, while still a bit silly, is explained poetically. Hide the man…not the hero.

The best reimagining in this story, though, comes straight from the heart of the origin itself…the destruction of Krypton. I would be performing a grave disservice to the creators of this book and to fans if I gave away how this all transpires in the book. I will say, though, it gives Superman a level of purpose we have never seen before and sets the stage for an epic battle in future books. It is also a direct representation of the attack fear we all felt on 9/11 -- magnified on a cosmic scale, of course.

Shane Davis delivers an absolute eye-gasm of imagery. Yes, I literally came out of my eyes at the first sight of Metropolis, a city in as much decay as every other American city. There was simply not one wasted panel in this book. Each moment and character were modernized just enough to reflect today’s world without ever bleeding into being trendy for the sake of simply being trendy (I’m looking at you on that one, Superboy circa 1993).

Now, of course Davis had some help. A large part of this fluidity can be attributed to DC’s courage in presenting SUPERMAN: EARTH ONE as an epic 128 page story. Some will balk at the $20 price tag, but to those naysayers I ask you to pull out a calculator before you start your campaign to save the floppies. Your average comic these days delivers 22 pages of actual story for about $3.00 a pop. For two extra bucks you can avoid any advertisements, wrap your hands around an indelible hardcover that seems to come alive as light refracts off the cover, and most importantly this is a TRUE 128 page story that is not hampered by being a collection of 22 page story-arcs. Let’s face it, all books these days are written with trade packaging in mind. Back in the day a trade was something special: it signified that a book sold out in such quantities that the only cost effective way to get it into readers’ hands was via the trade. These days though, the trade market is trouncing the floppies. As consumers we have voted with our wallets that we want a complete and holistic story. SUPERMAN: EARTH-ONE is that story from start to finish. It is a true representation of Freytag’s coveted pyramid, not five Herve Villechaize-size pyramids with each midget storyline wrestling to be the best exposition, the best climax and the best finale. Trades and floppies have been battling for years and both have suffered as a result; please end this pointless battle, DC, you’re our only hope.

I’ve already heard rumblings that compare EARTH-ONE to Marvel’s Ultimate line; please for the love of God stop comparing books before you read them. From day one in the Ultimate universe the world was already transformed into a science-fiction fantasy land. Spider-Man did not beget S.H.I.E.L.D. in the Ultimate universe. Humanity was already way more advanced than we are today. EARTH-ONE truly captures the “oh shit” experience we would all have if one day we turned on the television and there were reports of a man flying across the sky. As they say in the opening pages of the book, this is real.

My mind is spinning with the possibilities of EARTH-ONE’S future, not just as a story, but also as a publishing model. I can say without reservation that I would love to see an endless cycle of serialized graphic novels to start filling the shelves. It would be a win-win for the publishers and the readers. Publishers could cut their operating costs and we as readers would be spared the filler stories between great story arcs. As for EARTH-ONE itself, imagine the Green Lantern of our sector having to act as almost an undercover cop to avoid scaring the masses. Plus it would be interesting to see how the Guardians deal with the events that closed out EARTH-ONE: SUPERMAN. Imagine the Flash having to always operate at top speed, not being able to take time out to eat a freaking hamburger while in costume. Imagine a Justice League that actually came together again for a purpose as opposed to simply existing because well…there’s always been a Justice League. I implore whatever powers that be who are reading my words to care for and tend to this universe…it can become something truly extraordinary.

Now it’s time to bring on the Bat. Mr. Johns and Mr. Frank, you have your work cut out for you, gentlemen…

Optimous has successfully blackmailed fellow @$$Hole BottleImp into being his artist on Average Joe. Look for Imp's forced labor on Optimous brain child in mid-2011 from COM.X. Friend Optimous on FaceBook to get Average Joe updates and because ceiling cat says it's the right thing to do.

http://www.aintitcool.com/node/47119#3

http://uk.comics.ign.com/articles/112/1129376p1.html

Autre critique, pas du tout le meme ton

Traduction de la critique positive de aintitcoolnews.

Citation :

Merci, DC. Même si ce récit magistral est vanté dans le marketingverse comme «accessible aux nouveaux lecteurs" (et il l''est) en tant que quelqu'un qui a suivi les aventures de Superman au cours des trente dernières années, c'est la première fois que je lis un premier épisode, ou je sents comme une décharge électrique, autant exaltation, et d' allégresse, je suis complètement émerveillé.

Oui, nous avons vu des reboots de Superman un nombre incalculable de fois au fil des ans sous la forme d'Elseworlds, SECRET origines, et l'ancien amour de ma vie ALL STAR SUPERMAN. Mais ceci est différent. Ce n'est pas simplement un twist du style la célèbre fusée de Superman/Kal El dévié de sa course; TERRE-ONE possède une détermination féroce de vous présenter notre univers d'une façon bien réelle. Et c'est là le secret de son pouvoir absolu .

L'univers DC principale (Terre-Prime) a cessé d'être notre monde en 1938. Et ce n'est pas grave, c'est ce que c'est, la honte sur nous de toujours essayer de le tirer en arrière dans la "réalité". Les fans de comics sont impossibles à satisfaire, nous crions en en cœurs que les choses deviennent obsolètes, mais on se transforme en chiens enragés dés que un écrivain brise le statu quo (allez, on se souvient tous de la cacophonie des Fuck you au sujet du catogan de Kent). Peu importe la façon, le nombre de crises, d'effondrement de son univers que DC nous balance, la Terre-Prime ne peut pas changer, il est devenu un univers aussi réel que le notre qui ne gagne un renouvellement à partir d'un éternel retour au statu quo. La dernière édition des "SUPERMAN terre à terre" est un excellent exemple de ce phénomène. Comment quoi que ce soit peut etre nouveau et excitant dans un monde qui sait que à tous moments dieux marchent parmi nous et que l'univers est une mer infinie de vie extraterestre et de miracles? dans les derniers comics, je ne crois pas que Superman marche à travers l'Amérique par culpabilité de ne pas pouvoir guérir une dame du cancer ou d'avoir perdu new Krypton. Merde, je me balladerais bien pendant un an prés des petites gens si je savais que je devais passer une éternité avec l'apparence d'un boy scout de 30 ans.


Je l'ai répété maintes et maintes fois dans cette colonne que DC a besoin de cette remise à zéro pour sauver Superman de ses champs de maïs et de son existence éternelle ... et pour nous sauver lecteurs. Autant j'ai adoré SECRET origines et ALL STAR SUPERMAN, ils sont encore une représentation et la déconstruction de Terre-Prime, ils sont essentiellement le superman de mon père et mon grand-père. SECRET origines strictement adhére au Donnerverse. C'était un monde qui était déjà en avance sur notre propre au moment où Superman apparaît sur la scène. Lex Luthor est déjà en train de bricoler Metallo pour l'amour de Dieu ... il n'y a personne dans notre monde qui a construit des robots sensibles, le plus intelligent robots que nous avons est Roomba et le robot qui danse ennuyeux de Honda.

ALL STAR SUPERMAN était loin de Donner, mais encore une fois il était fermement ancrée dans un monde qui n'est pas le nôtre. Un monde où il ya des chercheurs de l' espace hippy et des canons à rayons qui peuvent accomplir des miracles. Une expédition au soleil? S'il vous plaît, nous ne pouvons mêmer revenir à la lune. Ce sont deux aventures étonnantes, mais ils ont été fermement ancré dans la fiction d'hier. TERRE-ONE représente l'avenir de Superman, et si les chiffres de vente le veulent, l'avenir de notre façon de consommer la bande dessinée. JMS a créé un monde qui vit qui respire, un monde de conséquences et DC nous délivre cette vision en scope épique. Maintenant, si vous avez une sorte de haine farouche emo de Superman, il n'ya pas de mots qui vont vous convaincre de lire ce livre. Mais si vous aimez la bande dessinée et, surtout, veulent assister à la genèse de ce qui pourrait être le prochain grand univers comique (avec les bons soins et l'éducation), préparez-vous pour un voyage à Terre-ONE.

Terre-One est tout simplement réel. C'est l'histoire d'un monde qui n'était pas préparé à Superman et reconnaît que son existence est une nouvelle genèse pour l'humanité. Terre-One n' a rien connu de fantastique, il vit seul dans l'univers, et ses habitants sont des drones sans inspiration qui vivent dans un cycle sans fin de travail, se lever manger , travailler et le répéter, jusqu'à ... mourir. Cela vous semble familier? Bon, maintenant vous êtes dans le bon état d'esprit pour rencontrer Clark Kent.

Y at-il des tropes dans cette origine? Oui - il est Superman. Arrêtez de poser des questions stupides. si vous avez décidé de réécrire l'histoire de Jésus, à un moment donné, il aurait à mourir et revenir à la vie, sinon tout ce que vous écrira l'histoire d'un mec avec une barbe qui aime le pain. Les Tropes abondent, mais JMS élève ces principes de l'Homme d'Acier-delà de la parodie qu'ils sont devenus sur Terre-Prime. Essentiellement JMS fait ce qu'il fait le mieux, il délivre le «pourquoi» derrière le quoi. Il ya des choses que nous pouvons expliquer aujourd'hui qui ,pour deux générations ont été de la science-fiction. Ce qui rend si avancée la technologie des kryptonien ? Eh bien, ce n'est pas "juste parce que", ou il y a juste des cristaux guérissent des vieux hippies, ou encore des dispositif de stockage de données d'extraterrrestre disco. Au lieu de cela, nous voyons la technologie kryptonien réécrire ce que nous savons sur les nanotechnologies et l'univers sub-atomique. Lorsque Siegel et Shuster ont mis le grand S en collants oh ya tant d'années, le costume de cirque fonctionnait car c'est la que vous alliez voir des gens " voler". JMS a même dépassé cet élément et met en place une explication qui fait plus de sens que toutes les tentatives à moderniser Supe. Pourquoi Clark finit au Daily Planet? À l'époque de nos grands-parents il était expliqué avec bon sens et un sourire, et ca a marché pour eux,que c'est comme ça que vous avez choisi une carrière à l'époque. Un petit peu de talent inné, un peu de boulot et - hop - vous étiez un journaliste. Comme tous les vingtenaire d' aujourd'hui le savent bien, les carrières ne sont pas si clair, surtout quand ce vingternaire a la capacité de faire ce qu'il veut. Clark devient un journaliste par nécessité, au lieu d'une juxtaposition de chaussures à cornes à sa personnalité affable. L'enfer, même l'utilisation des lunettes horribles que porte Clark comme déguisement, tout en continuant a etre un peu ridicule, est expliqué ici de manière poétique. Masquer l'homme ... pas le héros.

La meilleur reimagination dans cette histoire, cependant, vient directement du cœur de l'origine elle-même ... la destruction de Krypton. Je rendrais un très mauvais service aux créateurs de ce livre et aux fans, si je donne la façon dont cela transparaît dans le livre . Je dirai, cependant, qu'il donne un niveau de Superman but que nous n'avons jamais vu avant et ouvre la voie à une bataille épique dans les prochains livres. Il est également une représentation directe de l'attaque et la peur que nous avons tous ressenti le 9 / 11 - agrandie à l'échelle cosmique, bien sûr.

Shane Davis délivre un orgasme de l'imagerie. Oui, mes yeux sont littérament sorti de ma tete à la première vue de Metropolis, une ville aussi pourri que toutes les autres villes américaines. Il n'y a tout simplement pas une case de gaspillé dans ce livre. Chaque moment et le caractère ont été modernisés, juste assez pour refléter le monde d'aujourd'hui sans jamais être un saignement dans la mode pour des raisons d'être tout simplement à la mode (c'est à toi que je parle Superboy 1993).

Maintenant, bien sûr Davis a eu un peu d'aide. Une grande partie de cette fluidité peut être attribuée au courage de DC dans la présentation de ce SUPERMAN: terre one , une histoire épique de 128 pages . Certains rechigneront au prix de 20 $, mais à ceux la je vous demande de sortir une calculatrice avant de commencer votre campagne pour les disquettes. Une bande dessinée moyenne de nos jours offre 22 pages de l'histoire réelle environ et 3,00 $ par pub. Pour deux dollars de plus vous pouvez éviter toute publicité, enveloppez vos mains autour d'une couverture rigide indélébile e, et surtout c'est VRAIMENT 128 histoire pas entravée par être un recueil de story arcs de 22 pages . regardons les choses en face, tous les livres de nos jours sont écrits avec une l'idée qu'ils seront collecté . A l'éppque quand on faisait une une opération de ce genre c'était quelque chose de spécial: il signifiait que le livre avait été vendu en quantités telles que le coût seul moyen efficace de le faire entrer dans les mains des lecteurs étai par cet ntermédiaire . De nos jours cependant, le marché c se fait battre à plate couture les disquettes. En tant que consommateurs, nous avons voté avec nos portefeuilles que nous voulons une histoire complète et holistique. SUPERMAN: TERRE-ONE est cette histoire du début à la fin. c'est une une représentation fidèle de pyramide convoité de Freytag, et non pas cinq pyramide Herve Villechaize avec des scénarios de tailles naines luttant pour etre la meilleur expo, le meilleur climax et le meilleur final. Les bds et les disquettes se battent depuis des années et les deux en ont souffert, s'il vous plaît mettre fin à cette bataille inutile, DC, vous êtes notre seul espoir.

J'ai déjà entendu des rumeurs qui comparent TERRE-ONE à la ligne de Marvel Ultimate; s'il vous plaît pour l'amour de Dieu cesse de comparer les livres avant de les lire. Dès le premier jour dans l'univers Ultimate dans le monde a déjà été transformé en un pays imaginaire de science-fiction. Spider-Man n'a pas engendré S.H.I.E.L.D. dans l'univers Ultimate. L'humanité était déjà bien plus avancés que nous en sommes aujourd'hui. TERRE-ONE représente vraiment l'experience "oh merde" nous aurions tous si un jour nous avons allumé la télévision et il y avait des rapports d'un homme qui vole dans le ciel. Comme on dit dans les premières pages du livre, ceci est réel.

Mon esprit arrète pas de penser aux possibilités de cette Terre-son avenir, non seulement comme une histoire, mais aussi comme un modèle de publication. Je peux affirmer sans réserve que je serais ravi de voir un cycle sans fin de feuilleton romans graphiques remplir mes étagères. Ce serait gagnant-gagnant pour les éditeurs et les lecteurs. Les éditeurs pourraient réduire leurs coûts d'exploitation et nous, lecteurs on nous épargnerait des histoires ou on fait du de remplissage entre les arcs et les grande histoire. Quant à TERRE-ONE lui-même, imaginer le Green Lantern de notre secteur avoir à agir en tant presque un flic en civil pour ne pas effrayer les masses. Plus encore il serait intéressant de voir ce que les gardiens de l'iunivers vont faire avec les événements qui ont cloturé à TERRE-ONE: SUPERMAN. Imaginez Flash d'avoir à toujours fonctionner à la vitesse de pointe, et ne pas être en mesure de prendre le temps de manger un hamburger . Imaginez une Justice League réunis à nouveau pour un vrai but, plutôt que de simplement parce que ei ... il ya toujours eu une Ligue des Justiciers. J'implore ceux qui lisent mes paroles de tendre vers cet univers et d'en prendre soins ... il peut devenir quelque chose de vraiment extraordinaire.

Maintenant il est temps de ramener la chauve-souris. M. Johns et M. Frank, on a commencé le travail pour vous messieurs. .

Deux scènes de Superman Earth one.

http://www.aintitcool.com/node/47186

http://www.slashfilm.com/2010/10/25/superman-earth-on/

http://www.wired.com/underwire/2010/10/superman-earth-one-2/

De nouvelles planches et une nouvelle critique positive.

Ce que je vois me plait pour le moment (mis à part un échange cata entre Martha et Jonathan lorsqu'ils trouvent Clark) mais par contre faut etre clair, on a la aussi une relecture de spiderman en plus dark et sans le coté crevard de Parker à la sauce superman. why nott, les persos post crisis ont des points communs.

http://ifanboy.com/content/articles/REVIEW__Superman__Earth_One

2 critiques positives, qui disent qu'il s'agit la d'un bon Gn, pas grand, mais bon.