But if DC’s PTB were insisting that the reason for Babs back as Batgirl, etc were because they wanted to go back to the “iconic” versions that people recognized, why not use the the DCAU’s Justice League Line-up. The Trinity plus John Stuart as Green Lantern and Hawkgirl of the unconfusing past (who, unlike any other version of Hawkgirl, is NOT defined by her relationship with Hawkman). And a Flash. Two women on the core team? Aces.

But line-ups aside, I still don’t understand why so many books are pushing the envelope with violence, gore, and sex. Yes, those things sell, but they’re not the ONLY things that sell, and by marketing almost exclusively to 18+, DC manages to miss out on the wonderful opportunity of converting wee little ones into DC-lovers. At least Marvel has “Marvel Adventures”–fun, regular comic-type stories that don’t talk down to the people reading them.

It’s the execution that makes comics accessible to new readers. Simple easy to read-stories done in three issues or less. But in today’s world of padding books are hard to get into because it takes 8-12 issues to finish a story. I could finish watching a whole season of a TV shows by the time a comic storyline finishes these days. That’s too slow in a fast-paced world where comics compete with internet, movies and TV for

Sure Didio made e-comics. But like HD, it boils down to content. Sure it’s flashy, but there’s no substance to keep the customer compelled to continue buyinig the product.

Today’s reboots also fail because as soon as the secondary creative team comes on a book after the acclaimed first team ends its run, the sales decline. It’s been the cycle of the business since 1997. And usually the secondary team is inexperienced and doesn’t get the guidance it needs from editorial on how to write consistent charactes, develop a “Voice” or a sense of style unique to themselves. I’ve seen this happen with the Heroes Reborn, Heroes Return, and DC’s One Year Later titles like Flash Vol.3 (Bart) and Wonder Woman Vol. 3. Every time the series changes a creative team it leads to a complete collapse that leads to another reboot. A vicious cycle that repeats itself because no one in editorial understands the basics structure of comicbook storytelling. The goal in a comic is to get em’ in, get them to finish, and leave them wanting the next issue in 21 pages. Not pad things out for months on end and come to a weak finish.

If you tried not to merely re-import certain elements (like Harley Quinn), but copy it over entire, I think a lot of things wouldn’t translate well and a lot of the charm would be lost. It’s like trying to turn your favorite little restaurant into a nation-wide franchise.

However, if you’re going to do a big push for new readers, I really don’t think asking them to buy issue #780 is going to be as effective as asking them to buy issue #1. You have to convince people that this is a starting point. The easiest way to do that is to MAKE it a starting point. (Of course, DC’s ability to make starting points varied drastically across their titles.)

I also don’t have a huge hate-on for reboots. Reboots happen. And if you want something to survive decades and decades, it’s going to have to evolve. Yes, it sucks for older collectors like me (and presumably) you, who’ve sunk a lot of time and money into an older continuity. But, let’s face it, catering to people like us at the expense of a newer generation is what put comic books in the horrid place they are to begin with. Increasingly older people are a dwindling market. And, frankly, Crisis on Infinite Earths and its fallout was one of the best things to happen to DC Comics. And outside the comics themselves, another best thing was Batman: The Animated Series. Both of those were reboots. I can’t use “reboot” as a pejorative. Confidentially, I don’t think the New 52 Reboot was strong enough. Should have actually just started everything over. What we got feels a bit too much like hedging.

But I do think they’re a smart thing to do right now. Especially during a line-wide #1-issue digital push. With the comic book industry in the state it’s in, half-measures are not a bright idea.