And now starting with March's issue #18, "Birds of Prey" will switch up again. Taking over in that comic for departing writer Duane Swierczynski is Jim Zubkavich - known for his work on Image's fan favorite "Skullkickers." The man commonly known as Jim Zub will keep the Canary, Batgirl and series artist Romano Molenaar while also welcoming new Bird Strix to the team full time in a story that follows up on the "Night of the Owls" crossover -specifically the fate of Owl victim and villain Mr. Freeze.
CBR News got the exclusive on the change and spoke with Zub about his plans for the series. Below, the writer talks about his view of "Birds of Prey" history from Chuck Dixon and Gail Simone's classic runs through Swierczynski's current storylines, shares his view on why the franchise is led by it leading ladies' character dynamic and reveals what villains new and old will be breaking into the book this March.
Looking deeper into the team, we know some shake-ups are in store soon. Katana is on her way to a solo series and "Justice League of America." Meanwhile, Starling looks to be some kind of double agent for Amanda Waller. And let's not forget new player Strix in the series. How will the team be fleshed out as your run begins? Are there certain threads from Duane's run you'll be incorporating, or is this an opportunity for a clean slate for the ladies on the team?
"Birds of Prey" #18 is written as an ideal jumping on point for new or lapsed readers, but it doesn't get rid of anything that's happened in previous issues. It sets a new baseline and reintroduces the team while building on the foundation that's been solidly set up.
Duane developed some great plotlines I intend to utilize as the story moves forward. In addition to creating a bunch of new material I'm also picking up threads from Duane's run that will re-emerge in new and unexpected ways. As far as I'm concerned, everything's in play.
In your first issue, the focus is on Mr. Freeze whose origin got a revamp in the recent "Batman Annual" #1. What was the draw on following up the "Court of Owls" tie-in, and how are you picking that character up after those revelations?
After being physically and emotionally trounced by Batman, Freeze is damaged goods and he's not dealing with that too well. He feels he's been used by Bruce Wayne, used by Batman and used by the Court of Owls. Since Batman and Wayne Corp. soundly kicked his ass, he's lashing out at the next thing on his list and is determined to wreck vengeance on the Court and its many minions. That's going to bring him into conflict with Strix and the rest of the Birds. The end result of that nasty conflict will be far reaching and bloody for everyone involved.
Playing in the DC sandbox with both classic and new characters feels pretty cool, I don't mind saying. When Freeze's name came up during brainstorming sessions I felt I could build on the great new material that started in the "Batman Annual." I'm excited about showing readers how focused and dangerous he can be.
Between Freeze and Strix's roles, one theme that appears to be growing in the book is stronger ties it to the Batman world. Are you looking to incorporate some of the Birds story to the Dark Knight's family of titles, or are there ways it will remain off in its own corner of the DCU?
I'm planning "Birds of Prey" to work on its own as a reading experience. It may echo story elements that are happening in other series or shepherd along larger plotlines, but I feel really strongly about building "Birds" into something that works on its own merits while also adding to the larger tapestry of the DC universe.
One long term plot that seems to be getting a kick start early in your run is an organization called the Daughters of the Dawn. What can you reveal about this group, and how do they serve as a counterpoint for the Birds team?
Working with established characters is great, but one of the areas I'm super-pumped about is bringing new characters and ideas into the mix. The Daughters of the Dawn are a group I've come up with as a long term threat for the Birds (and who knows, maybe other parts of the DC universe as well). They'll be introduced in issue #18 in a cutaway scene and will slowly develop in the background, putting pieces into play bit by bit. By the time they make their big move I'm hoping readers will be excited about who they are and how they tie into the bigger picture.
Artist Romano Molenaar is sticking on the title with you. What have you gleaned of his style and strengths from his initial issues with the book, and how has that impacted what you're doing for him in the scripts?
Romano's got a solid combat-oriented approach to the series that suits me just fine. I love writing fight scenes and he enjoys drawing them, so I expect good times coming down the road for us. I'm going to push for a mix of big emotion and big action and, from everything I've seen, he's definitely up to the challenge.
Unlike "Skullkickers" and a few of your other creator-owned works, this series is a big change up from the fantasy landscape. You've talked in the past about wanting to branch out in the kinds of stories you tell. What story and genre itch does "Birds of Prey" scratch for you in a general sense and in terms of your view of superhero comics?
In the end I think it's less about genre and more about characters. I love sword & sorcery and feel incredibly fortunate that I'm writing two fantasy-based comics, but the core of my passion for storytelling comes from developing engaging characters, whatever genre they're in. I'm thrilled to be contributing a tiny new chapter to the DC universe while fulfilling the gloriously goofy dreams of an 11-year-old Zub who wanted to make superhero comics.
Also, Black Canary is DC's foremost ass-kicker with a heart of gold. How could I not love writing about her and the people she calls her friends and allies?
You've made the rounds lately on the web talking about the tough realities of working on smaller, creator-owned comics and what it takes to make that kind of career work. Overall, what does taking a step like working for DC mean for you in career terms? How does it impact what you'd like to do in comics moving forward?
It's obviously a big milestone for me and one I'm not looking to take for granted. Beyond the increased visibility and financial benefit that comes from working on a DC series, I'm feeling a motivated sense of "put up or shut up."
I've talked pretty good game on my blog about what it takes to break in, how to pitch stories, comic writing process and creator-owned economics. Now I've got to prove to myself and the readers who know and love these characters that I can make the most of this amazing opportunity. I hope readers will check out the first few issues of my run and let me know if I do it justice.