#The Justice league are going crazy trying to figure out who this entity is and after deep research are convinced this is some sort of

[kizzer55555]

DP x DC: The Most Dangerous Card Game

Ok so Danny has essentially claimed earth as his. And he is fully aware that there are constant threats to the planet. Now he can’t stop a threat that originates on earth (that’s something he’ll leave to the Justice league) but he can do something about outside threats. Doing some research on ancient spells, rituals, and artifacts, he cast a world wide barrier on the planet to protect it from hostile threats so they cannot enter. This will prevent another Pariah Dark incident. However, barriers like this come at a price. You see, there are two ways to make a barrier. Either make one powered up by your own energy and power (which would be constantly draining) or set up a barrier with rules. The way magic works is that nothing can be absolutely indestructible. It must have a weakness. The most powerful barriers weren’t the ones reinforced with layer after layer of protective charms and buffed up with power. Those could eventually be destroyed either by being overpowered, wearing them down, or by cutting off the original power source. No, the most powerful barriers were the ones with a deliberate weakness. A barrier indestructible except for one spot. A cage that can only be opened from the outside. Or that can only be passed with a key or by solving a riddle. So Danny chooses this type of barrier and does the necessary ritual and pours in enough power to make it. And he adds his condition for anyone to enter. 

Now the Justice league? Find out about the barrier when Trigon attempts to attack, they were preparing after he threatened what he would do once he got to earth. How he would destroy them. The Justice league tried to take the fight to him first but were utterly destroyed, so they retreated home to tend to their injuries, and fortify earth for one. Last. Stand. Only when Trigon makes his big entrance…he’s stopped.

The Justice league watch in awe as this thin see-through barrier with beautiful green swirls and speckled white lights like stars apears blocking Trigon and his army’s advance. The barrier looks so thin and fragile yet no matter how hard the warlord hits, none of his attacks can get through and neither can he damage said barrier. That’s when Constantine and Zatanna recognizes what this barrier is. Something only a powerful entity could create. For a moment, the league is filled with hope that Trigon can’t get through yet Constantine also explains that it’s not impenetrable. And clearly Trigon knows this too for he calls out a challenge. 

And that’s when, in a flash of light, a tiny glowing teenager appears. He looked absolutly minuscule compared to Trigon and yet practically glowed with power (this isn’t a King Danny AU though).

And that is when the conditions for passing the barrier are revealed. And the Justice realize that the only thing stopping Trigon and his army from decimating earth. The only way he can get through….is by beating this glowing teenager in a card game. 

Not just any card game though. The most convoluted game Sam, Danny, and Tucker invented themselves. It’s like the infinite realms version of magic the gathering, combined with Pokémon, and chess. And Danny is the master. So sit down Trigon and let’s play.

(The most intense card game of the Justice league’s life).

After Danny wins, this happens a few more times with outer word beings and possibly even demons attempting to invade earth, yet none have been able to beat the mysterious teenager in a card game. Constantine might even take a crack at it and try to figure out how to play. He’s really bad though. Every time this happens, the Justice league worry that this might be the time the teenager looses. Yet every time, he wins (even if only barely). 

Meanwhile, Danny, Sam, and Tucker have gotten addicted to the game and play it almost daily. Some teachers might seem them playing the game are are like ‘awww how cute’ not realizing this game is literally saving the world. Jazz is just happy they aren’t spending as much time on their screens playing Doomed.

[hellzyeahthewebwieldingavenger]

So I re-read Infinity Gauntlet #1 today, having also read the Avengers vs. Thanos trade and Rebirth of Thanos trade before it. A few years ago Marvel put out several trades that you can sort of read in a provided sequence to get the broad strokes of Thanos’ history so I’ve been trying to follow that. It greatly alters reading Infinity Gauntlet out of context.

Infinity Gauntlet Thanos, even before the movies, was easily the most iconic ‘mode’ for Thanos and obviously his most iconic story, so it was in the minds of many (especially those who’d heard of him but not read much of him) very much the presumed default setting for him.

When you read his whole history up to that point though you see how it was simultaneously a sequel to the second (arguably first) ever Thanos storyline ‘The Thanos War’ event (yes the 1970s still had event comics, they were just not labelled that) and also the natural evolution for his character.

It just highlighted and reinforced however how much more sense the original story made compared to the Infinity War film.

Comic book Thanos is the mad titan on two levels.

The first is that outside observers see him as the ultimate nihilist, a lunatic who literally worships Death to the point where he’s actively trying to destroy whole stars. To such people obviously he looks nuts.

To the readers though, Thanos’ motives in this regard aren’t really that crazy. At least they eventually come off that way. Whilst int he earliest Thanos stories featuring Mistress Death you could argue that’s all in Thanos’ insane head, it eventually becomes clear that it actually really isn’t.

Death is a literal entity, that at least appears to Thanos to be a tangible female figure and he is literally in love with her.

He kills basically to impress and honour her.

Which brings us to the second level for Thanos’ madness, the REAL reason he is the Mad Titan. It isn’t that he is nuts because he kills so many people, or because he thinks Death is an actual person.

He’s Mad because he doesn’t get that...she’s just not that into him. 

He doesn’t get that her being the personification of one of the fundamental forces of the cosmos and him being mortal means...she’s out of his league.

THAT is the real reason he’s mad.

He isn’t the kind of lazy story version of ‘mad’ wherein it’s used a licence for him to do anything irrational.

The best written villains who’re not in their right minds as a fundamental cornerstone to their characters can still be understood, they still make sense within the framework of their warped mentalities that the audience should understand.

This is even true of any of the good versions of the Joker. 

Whether he’s simply does cruel and horrible things because he believes the world to be one big joke and finds death funny or that he’s simply an agent of chaos because he realizes that’s the only truth of life with justice, order and morality as a joke, you get why he does the things he does. In particular in the latter rendition he is consistent in being consistent. His bouncing between contradictory irrational actions is still rooted in a reason.

Movie Thanos though...isn’t.

He wants to end half of all life because there aren’t enough resources for everyone to survive off of. Okay that makes sense.

But he’s going to do it via these items that give him ultimate power over everything, wherein he can shape reality to be whatever he wants and so could just make MORE resources, remove beings abilities to breed, move half of all life into a pocket universe, etc. Not to mention that surviving half will multiply to the point where the same problem would occur.

As soon as you introduce THIS level of power to Thanos his original M.O. breaks down to the point where the ONLY justification possible is ‘he’s insane okay so he doesn’t have to make sense’.

Compare this to the comic book Thanos who’s madness is not only understandable but who seeks the Infinity Gems for an entirely different reason.

He doesn’t want to kill 50% of everyone, he wants to become a worthy lover to the woman he has the hots for. 

It’s DEATH who wants him to kill half of all life, Thanos himself only cares about that up to the point where it can impress her or else be used as a cover story for him seeking the Infinity Gems. It’s not at all a key facet to defining who he is as a person.

his nihilism and (very literal) necrophilia is. 

And I’ll be honest...it makes him more unique too. 

Say what you want about every other comic book super villain but ‘is bad because he is literally in love with Death’ is an original motivation.

P.S. He isn’t even right about the over population problem. In the real world we don’t actually HAVE an over population problem, the media just claims we do because they don’t get science

[thecomicsnexus]

DOOM PATROL #19-22 FEBRUARY-MAY 1989 BY GRANT MORRISON, RICHARD CASE, CARLOS GARZÓN AND SCOTT HANNA

SYNOPSIS (FROM DC WIKIA)

After the recent alien invasion that nearly destroyed their team, the surviving members of the Doom Patrol are struggling to deal with the deaths of their friends and their own misgivings about ever returning to superheroics.

Robotman has since checked himself into a psychiatric ward, plagued by nightmares of the accident that saddled him with his robotic body. He has become depressed and bitter with the knowledge that he will never be human again.

Niles Caulder and Joshua Clay, meanwhile, have been placing calls to check in on the others. They learn that Larry Trainor is in stable condition at Alamance General Hospital after crashing his helicopter, while Rhea Jones was left comatose in the wake of the Gene Bomb. While Joshua intended only to learn whether his friends are okay, the Chief hoped that he might be able to reform the Doom Patrol soon. Though the Chief extends him an invitation, Joshua politely refuses to join. Even so, Clay is to play an important part in Caulder's future plans.

Doctor Will Magnus visits Cliff in the hopes of bringing him some cheer, but Robotman is too depressed. As his human brain is housed within an entirely robotic body, he has all of the same impulses, but he can't feel anything. He has all of the memories of what physical sensations used to feel like, but they haunt him, and he is constantly aware of the phantom body which isn't there. He breaks down, and demonstrates his emptiness by slamming his metal head into a wall over and over, and the lack of physical feeling fills him with emotional pain. Magnus suggests that the Doom Patrol might have helped him deal with these feelings, but Cliff doesn't want to go back to the team that got Rita, Arani and Scott killed.

Larry is visited by Doctor Eleanor Poole, who assures him that he will be healed and ready to leave within days. After she leaves the room, though, a dark shadow appears in his window and calls to him. The Negative Spirit speaks to him for the first time, and it intends to make some changes for Larry. It causes Larry to call for Dr. Poole, who, upon entering the room, becomes entangled in an alchemical marriage which fuses the three entities into a single being. In order to give Cliff some perspective, Magnus introduces him to someone who has far worse problems than he does. Another patient who refers to herself as Crazy Jane suffers from dissociative disorder as a result of abuse she received as a child. She has since developed dozens of alternate personalities. However, in combination with the detonation of the gene bomb, each of her personalities has its own superpower. After speaking with her, Cliff realizes that she is in greater need of help than he is, and decides to make himself responsible for her.

Elsewhere, something sinister underlies the events of a car crash. A policeman witnessed the driver, consumed in flames, walk away from the explosion to warn the Scissormen. Before dying, he left behind a strange black book. Even the government operatives sent to investigate are perturbed by these events. Even so, all they can do is call their superiors, who will contact the pentagon, who will contact the President - and then he'll contact Niles Caulder.

Father McGarry has stopped believing in miracles, but still, every Saturday, he walks through the debris left behind by the Gene Bomb in search of some sign of God. Today, he spots a sign meant to say "Have Faith in God", but the G is obscured such that it reads "Have Faith in Cod". At that moment, it begins raining fish - a wide variety of fish, too - but no cod. Saddened by the irony, Father McGarry is suddenly crushed by a giant refrigerator, fallen from the sky.

Elsewhere, Niles Caulder and Joshua Clay visit the Alamance Memorial Hospital after hearing that Larry Trainor turned into some kind of creature overnight. The doctors believe that what they discovered is some kind of amalgamation of both Larry and his doctor Eleanor Poole. It also emits some kind of radiation which required them to wrap it in bandages. The Chief asks Larry if he remembers him, but the voice that comes from the bandages is not Larry's. It announces that it is a mix in both race and sex, a series of contradictory mergers. Rather than answer to Larry or Eleanor, the wrapped figure with both male and female characteristics suggests that they call it Rebis.

Somewhere in the village of Greenock, Scotland, a young boy named Stuart is displeased with the idea of going to church on Sunday. As he thinks on this, trying to savour his Saturday, he hears a sound from his wardrobe. When he opens it, he is filled with horror. His father comes some time later to ask him what he wants for dinner, and is surprised to find that his son has been rendered a boy-shaped void.

After their visit, the Chief explains that the name Rebis was a term used by the medieval alchemists to identify the result of a chymical wedding. Leaving his companions for a moment, Caulder returns to Rebis' room and asks whether it might like to join his Doom Patrol.

Meanwhile, Cliff Steele is still voluntarily committed to a mental institution in order to deal with the trauma of losing his body. He receives a visit from Will Magnus, who remarks that he seems to be making progress. In addition, his attention to the young lady known as Crazy Jane has apparently seen her improving as well. Cliff's help in helping her organize herself and cataloging her new super-powers has been invaluable. Before taking his leave, Magnus intimates that he took Cliff's complaints about his robot body to heart, and decided to make him a new body using the advances in cybernetic technology that have become available.

Afterwards, Cliff receives a visit from Crazy Jane, who introduces herself as Driver 8, the driver of Jane's train of thought and monitor of the stations of the underground. The underground is how Jane refers to the place where all of her personalities reside. Driver 8 delivers a message from other personalities that they like Cliff. As they walk, a crash overhead alerts them to Ralph, a fellow patient, throwing himself from an upper window to the ground below. In his injured delirium, Ralph repeats the name "Scissormen" over and over.

While taking the subway through Manhattan, a man who has just taken something that was not his to take finds his familiar route changed suddenly when the train stops at Orqwith station. Out the train's windows, he can see that everything, even the platform, is made of bones. He prays that the doors don't open, but they do anyway. Onto the train step the Scissormen with their blood-red scissors.

Late at night, while up writing, Cliff is distracted by the sound of Jane chanting the phrase "Blood of the Lamb" over and over. He finds her covered in blood, and when he tries to calm her, she warns that the Scissormen are coming. In fact, they have already arrived. Four men armed with giant scissors for hands begin advancing on them, and Cliff desperately drags Jane away from them. The room they rush into is occupied by a doctor who is floating in mid-air. He claims that he is existing in two places at once, and he can feel the Scissormen cutting off his thumbs. Before long, the Scissormen smash through the wall, and it is only by the grace of Jane's sudden ability to teleport them away that they are saved.

Out in the courtyard, though, the pair are beset by a crowd of white, people-shaped spaces, apparently cut straight out of reality.

Around the world, a number of strange occurrences are all connected to the arrival of the Scissormen.

In their attempt to escape from the Scissormen, Cliff Steele and Crazy Jane run to Kansas City, where the old Doom Patrol Headquarters was hidden in Union Station. Unfortunately, Cliff failed to realize that the end of the Doom Patrol would mean the end of the headquarters - but at least a note was left behind to say that the HQ had been moved to Rhode Island. However, as they discover the note, the Scissormen catch up to them, and the pair of them are forced to run for it.

Cliff leads Jane to one of the Doom Patrol's planes, which is still in working condition, hoping they can fly to safety in it. He notices, however, that one of her personalities has actually transformed her, physically, and the accompanying power makes her a horrifying site. With long, sharp fingernails, she tears at a Scissorman until nothing remains of him but shreds. Fortunately, Black Annis leaves Jane's mind in time for Cliff to drag her aboard the plane and fly away, leaving the remaining Scissormen behind.

The plane takes them directly to the Rhode Island headquarters, which the Chief explains was the former home of the original Justice League. He is aware of the Scissormen, having received the black book from the intelligence services recently. In fact, Jane has already finished deciphering the book with the help of her personalities. Apparently, the book is a metafiction that tells the story of the creation of the book by a group of philosophers who were seeking to radically alter human thought.

The book would be filled with parasitic ideas that would enter human consciousness and transform it. This, the Chief explains, is a form of memetic memory. These philosophers decided to create a world-city called Orqwith that would exist on a plane of reality that intersects with this one, and the history and geography of that world-city is recorded in the black book. In the end, though, the philosophers were devoured by their own creations. The Scissormen are apparently a kind of religious sect that worships a god who exists at the intersection of realities, and they are Orqwith's own version of the Inquisition.

To further their investigation, the Chief has actually managed to capture one of these Scissormen already, thanks to Rebis' radiation. This is all rather bothersome to Cliff, who can't be sure whether any of the things he has just heard or seen are actually real. The Chief points out that there is no clear distinction between reality and unreality - both appear to be present. Either way, he hopes to find out just how extensive the intrusion of Orqwith has been on their own reality, and then to track down the philosophers who wrote the book.

Cliff and Joshua Clay are saddled with watching the Scissorman, and end up talking about how weird things have become for them. Joshua hadn't even intended to be there still, but he has since found that he wouldn't have anywhere to go if he did leave. In an attempt to console him, Cliff responds that at least Joshua is real - unlike the Scissorman, who has apparently managed to disappear in the brief moment their backs were turned.

Looking up, they see that there are several more Scissormen advancing on them, and Joshua is forced to use his powers against them. They marvel at the fact that when they hit the Scissormen, they simply fade away. With that in mind, they manage to deal with the threat - until one Scissorman appears behind Josh and cuts him out of reality. The rest of the team rushes in too late, and though Cliff is concerned for Josh's life, Rebis claims that he and all of those the Scissormen took are out there somewhere, waiting for them.

Rashly, Cliff runs out to meet them, and with Jane and Rebis behind him, they all disappear from reality, and enter Orqwith.

Orqwith is a world of a city. At its centre stands Quadrivium, and in that, the Ossuary; the great Cathedral of Orqwith. The cathedral is occupied by two priests. One is a liar and the other is honest, but both are waiting to answer the question that will unmake the world.

Now that Cliff Steele is there in Orqwith, he can think of absolutely nothing funny to say. All around them, they can see the structures made of bone, and the populace - the hollow children - who were once denizens of the real world, and now reside in Orqwith. With horror, Cliff spots Josh Clay, and tries to talk to him, but a Scissorman comes running. The Negative Spirit within Rebis destroys the attacker, but Cliff's companions urge him to leave Josh be for now, with Crazy Jane teleporting them away.

Elsewhere, The Chief tracks down a man named Reinmann, who is somehow connected to the Black Book of Orqwith. Reinmann reaches for a pistol, claiming that he doesn't fear a cripple. In response, Caulder fires a bullet into Reinmann's thigh, explaining that now they are both cripples, and should talk.

The Negative Spirit flies over a pair of Scissormen, who somehow manage to blast it into pieces. With desperation, Rebis runs over to absorb the many pieces. The negative spirit managed to gather some crucial information from the scissormen before it was destroyed, and Jane's personality Mama Pentecost helps translate the words for them. Though the words come out as nonsense, she claims that they have learned how to get the better of their enemies.

Reinmann explains that the book was meant to be an intellectual joke, but it soon began to infringe on reality. When the Scissormen came for one of them, they tried to destroy the book to no avail. However, they did write a logical inconsistency in the fiction. They incorporated the philosophical question of why there is something rather than nothing. Orqwith can be destroyed if it is made to confront its own unreality.

Jane has just determined that exact fact. Orqwith is not supposed to be real. All they have to do is ask the two priests of the Ossuary why there is something rather than nothing, and Orqwith will be gone. Unfortunately, the Ossuary is guarded by nearly one hundred Scissormen.

Rebis claims that the Negative Spirit can get them into the Ossuary, though only five minutes of energy remain for its powers. Cliff and Jane rush Rebis into action as the Scissormen notice them there. As Rebis flies over the cathedral and smashes through the stained-glass ceiling, Cliff and Jane are tasked with preventing the numerous Scissormen from getting inside.

Confronting the two priests, Rebis asks them why there is something rather than nothing. The priest dressed in black responds that he is a liar, and does not know why there is something rather than nothing. The priest in white responds that he is an honest man, and that he doesn't know either. Thinking it out in its head, Rebis realizes that the priest in black must be the liar - and must therefore know the answer. Rebis poses the question again to the black priest, who responds that there is something rather than nothing - another lie. As such, Rebis reminds, Orqwith cannot possibly exist. A flash of light leaves Cliff, Jane, Rebis, and Josh sitting in the dirt outside the Secret Sanctuary.

The Chief reports that the anomalous activity caused by Orqwith's intrusion appeares to have ceased, but all the same, these events have convinced him more than ever that the world needs a Doom Patrol. With only a little reluctance, the four heroes agree to join Caulder in his team.

Elsehwere, a mysterious figure looks in on Rhea Jones in her hospital bed, while she lays comatose.

In Paraguay, a Doctor Bruckner warns of the escape of someone called Herr Niemand.

REVIEW

This is it, the critically acclaimed Morrison run on Doom Patrol. This title was unreadable, I am no joking here. So it is really refreshing to see what Morrison did (to be fair, he managed to put everything into place before he started, thanks to Kupperberg).

So, is it up to the hype? Well, yes. This is different, and comic-books should always welcome different (and good). It is also a book trying not to be the other books. Which I find very “alternative”, a product of its time. (It was the nineties version of the hipster movement, if there is such a thing).

While the characters are still trying not to be together when the story starts, at least they find reasons to group again. Now adding Crazy Jane and Rebis (can we say this is a transgender character?). It still relies on what happened before and it isn’t easy to keep track of all the characters we don’t see.

Richard Case is amazing. It is hard to have a range in terms of super-hero art. This is pretty much a horror story, and it really feels like it. Mostly thanks to Richard Case.

I give the arc a score of 9

[the-desolated-quill]

Okay, Warner Bros. And DC Need To Calm The Fuck Down - Quill’s Scribbles

Oh God! Quill’s moaning about the DCEU again! I thought you were on our side! Why are you hating on us so much! Go back to the Marvel bashing! Your Doctor Strange rants were awesome! Why are you wasting time on us when Iron Fist is coming out? Surely that’s got loads of material for you to work with!

Yes well calm your tits random DCEU fan who I just made up for the purposes of shit comedy. Marvel will receive further bashing from me very soon, I assure you. After all when it comes to racism, problematic storytelling, dodgy business ethics and general bullshit, Marvel is the gift that keeps on giving. But for now I wish to turn my critical gaze toward DC, namely the clusterfuck of films Warner Bros. and DC have in the pipeline.

Here’s a quick recap. After Justice League, we’ll be getting:

The Batman

The Flash

Aquaman

Shazam

Black Adam

Cyborg

Green Lantern Corps

Justice League 2

Justice League Dark

Suicide Squad 2

Deadshot

Gotham City Sirens

Booster Gold

Lobo

The Sandman

Man Of Steel 2

Nightwing

Now a few of these are in the very early development stages I should point out. It could change (Booster Gold, The Sandman and Lobo for instance are very much up in the air at the moment). But for now this is the current DC movie lineup. These are the films WB and DC hope to release at some point in the future. And do they intend to trickle these out slowly over an extended period of time? Nope. Most of these are planned to be released before 2020. BEFORE 2020! That’s three years away! Exciting, right?

Well... No.

I mean for starters we’re only three movies in. I’m not even sure if I like this franchise yet. And that’s an attitude a lot of people seem to share. So bombarding us with all of these upcoming movies isn’t exactly filling us with confidence. They seem to be working under the impression that people really want to see these movies, and I’m sure some people do. The problem is they haven’t exactly earned the fans’ respect or loyalty yet. Out of the three movies that have been released, two of them have done well at the box office (Batman V Superman: Dawn Of Justice barely broke even, failing to reach the billion dollar mark Warner Bros. were expecting, and thus considered a commercial failure) and none of them have been that well received by critics and audiences. The majority consensus is that BVS and Suicide Squad are shit (I disagree about BVS. I didn’t think it was that bad. It was just... meh) and Man Of Steel, the best of the three, split opinion down the middle. People either loved or hated that one. This isn’t exactly a strong foundation to build a mega franchise on to. So to open the floodgates now on various projects and to start planning sequels and spinoffs to movies that haven’t been released yet and that nobody knows will actually be liked enough to warrant a sequel or spinoff seems rather foolish in my opinion.

Oh but Quill, I hear you saying, that’s how Marvel do it. Why do you have a problem with DC doing it? Well here’s the thing. You’re right. That is how Marvel does it... and that’s the problem.

Credit where it’s due, Marvel didn’t start out like that. Phase 1 certainly wasn’t like that. Marvel were actually fairly methodical about it, carefully planning out each movie and figuring out how they all fit together. It was only after the success of Avengers Assemble when Marvel suddenly went batshit crazy and started farting out all of these movies without due care or attention. It’s like a balloon that’s been pricked with a needle. All of the air comes rushing out at once and the more air comes out, the more shrivelled, tired and wrinkled the balloon becomes until it flops on the floor and somebody inevitably steps on it. Basically what I’m saying is you can really tell the difference between Phase 1 and Phase 2 of the MCU. You can tell from watching the Phase 1 movies that a lot more care and passion went into making them. Each movie feels very distinct and they all contribute something new to the franchise. The Phase 2 movies however are all formulaic, cliched, bland and homogenised (Thor: The Dark World and Guardians Of The Galaxy are essentially the exact same fucking movie with different coats of paint). Marvel sacrificed quality for quantity, and in a desperate bid to keep up with Marvel and to stay relevant, it looks like DC are falling into the same trap.

See the reason why this troubles me is that I was hoping that the DCEU would build off of what worked about the MCU whilst improving upon its shortcomings. They certainly seemed to be making the right noises in the beginning. A creator driven franchise that would focus on character development and world building. Fast forward to now and I think we can safely say that’s not what we’ve got. Suicide Squad in particular was about as far from that original vision as you can possibly get. The DCEU is at risk of becoming the same soulless, assembly line corporate entity that the MCU is. Rather than putting care and focus into individual projects and gauging what the fans actually want, they instead seem to be adopting the Marvel method of throwing any old shit at the wall and seeing what sticks. And I think that’s a crying shame.

Of course these upcoming films might turn out to be good. We don’t know. But there’s another problem and it’s one I’ve mentioned numerous times before in these Scribbles. The ever-growing risk of turning an audience off by flooding the market with too much content. Just think about it. Starting this year, the MCU will be releasing three movies a year, three Netflix series a year, plus their other TV shows like Cloak & Dagger, The Runaways, Inhumans and Agents of SHIELD (yes that still exists). 20th Century Fox will be releasing at least one X-Men film a year, plus they’ve also made the jump to TV with their new series Legion. DC have already been dominating TV with Arrow, The Flash, Legends Of Tomorrow, Supergirl, Lucifer, Preacher, Powerless, iZombie, Young Justice, Vixen, Constantine and possibly Watchmen if rumours are to be believed. Not to mention the other comic book related stuff floating around that have nothing to do with Marvel or DC. Teenage Mutant Ninja Turtles, The Tick, The Walking Dead, the proposed Sam & Twitch TV series and Spawn reboot, AND persistent rumours of a Judge Dredd TV series. So let’s say DC release two movies a year. That would mean we would be getting at least 27 comic book related media content a year. 27! That’s INSANE!

If we’re not careful, the comic book genre will go the same way as the Western genre. Flood the market with too much of this stuff and people will eventually get sick of it and move on to something else. But doomsday discussion aside, it doesn’t seem like a wise move on DC’s part to be trying to match Marvel’s output. Considering the current tsunami of comic book related media we’ve got at the moment, the DCEU will just get lost in the noise. Surely it would be much better and smarter to release maybe one or two movies every couple of years, pacing themselves, making sure the films are the best they can possibly be and thus make a greater impact, rather than churn out an endless stream of movies and run the risk of them being mediocre and forgettable.

The DCEU will be playing a crucial role in shaping the genre going forward. It could either reinvigorate it and keep it going for another decade, or just add more dead weight to it causing the entire thing to collapse. Only time will tell which it will be.