By Gene Luen Yang, Viktor Bogdanovic & Hi-Fi
One of the mission statements for DC’s Rebirth initiative has been the idea that the publisher had veered too far into the territory of dark and gritty. Yes, post-Crisis on Infinite Earths DC is best remembered for the iconic brooding work of Alan Moore and Frank Miller. At the same time, it also produced Keith Giffen and J.M. DeMatteis’ Justice League, a title whose whimsical buffoonery, absurd situations and endearing characters came to define the team for a generation. Somewhere along the way, as the argument goes, DC lost track of such diversity in styles and let their titles fall into a stale uniformity of “seriousness.” This editorial preference hit its nadir with many of the failures of the New 52 relaunch. As with any overarching theory, it is a radical oversimplification, yet one which DC’s Chief Creative Officer Geoff Johns embraced with his Rebirth Special. Blaming Alan Moore (literally and figuratively) for the darkness, Johns declared that the time to right the ship had arrived. One of the best examples so far of Rebirth’s newfound interest in lightheartedness has been New Superman whose second issue does a first-rate job of continuing the promise of last month’s debut.