Q&A with the DC Comics Editorial Team!

The Q&A train never stops!

Coming right off the heels of an awesome Q&A session with Sean Murphy, we’re diving right back in next Thursday (April 21) at 1pm PT/4pm ET for an exclusive Q&A with the amazing Editorial team behind DC’s Round Robin!

Want to know what it takes to to be a comics Editor? Curious about what Round Robin looks like behind the scenes? Whatever your burning questions are, drop them in this thread and join us right here next Thursday as the Editorial team dives into all the juicy details of DC’s hottest competition, and more!

Please remember to submit only one question ! We have a limited time with Michael, Katie, Ben, and Andrew, so we’ll try to get through as many questions as possible.

See you all back here next Thursday at 1pm PT! :batman_hv_4:


To all of you, besides the series you suggested, who would you want to win?


Hi Comics Editors! Thank you for joining us. I’m curious if you could please give us some insight from your perspectives as to how the Discovery merger is going so far. Thank you!


Thank you for taking the time to answer our questions.

How much, if at all, did the controversy over last year’s first-round JLQ vs. Robins matchup affect how this year’s Round Robin matchups were set?


Hi editors, thanks for being here! How do the stories for the round robin get picked? Do you send out a request for pitches, and you guys narrow down what you think are the best ones?


To Katie Kubert, do you have a favorite work of your grandfather’s?


Hello! I’m currently working as an article editor and I was wondering what it takes to be a comics editor? What were your individual paths that got you where you are today?


So glad you’re doing another interview about the Round Robin process! I really appreciated the last one, and was hoping we’d get one this round, so thank you all so much!

My question: Can you say some of the specific differences between last year’s Round Robin and this year’s, and how your own interaction with the project has changed (or is new)?


Hi and thanks for being here and answering questions!

How do you all handle going into all of these pitches knowing that only one will be the winner, and ultimately, published? How different is this from a ‘usual’ experience on a Editorial Team that isn’t just for an event like this?

And thank you for all your work on this event! I love the Round Robin and I hope it is an event that continues next year and afterwards.


Hello and thank you for taking the time out of your day to answer our questions!

My question is: How did you come up with the Round Robin event? Was it inspired by March Madness?


Hi, thank you so much for coming back for another round of questions with us!

In last year’s Round Robin Q&A, a lot of us were disheartened to see so many promising candidates featuring lesser-known but beloved characters eliminated in favor of one popular winner. At the time, it was suggested that this may not necessarily be the end of the road for these pitches — just that the winner would go into production for Round Robin.

But since last year, apart from a couple brief anthology appearances from the lamented JLQ, we haven’t seen any signs of the 2021 Round Robin runners-up. Is there anything brewing for the promising ideas that didn’t make it, or are they lost forever? Thanks!


Greetings everyone! Last year it was said that some of the pitches that didn’t win might still get used in some way. Outside of JLQ popping up here and there that hasn’t really happened. Do you guys have any plans to still feature the losers of RR in some manner, maybe as part of an anthology Batman Urban Legends style?

DCU Infinite is DC’s first foray into a streaming service for comics. Other streaming services typically feature exclusive content to get people to sub. Have you guys considered digital comics exclusive to DCUI, maybe featuring characters that wouldn’t do that well in the direct market?


KK: Hello! So we are the Global Publishing Innovation group (Team GUPPY for short) and we aim to make products to attract new readers to our comics, and tell new stories to existing fans. Maybe there’s a fan who has never read a comic before but they love Superman or the Justice League! So what is the thing that gets them to interact with our characters? There are many answers to that…but one way to get fans to interact was to think of ways to engage digitally ie. how do we get them to further engage with our stories? We aimed to empower fans to be a literal part of the publishing process – so presenting them with ideas that we as editors were excited about, stories we don’t necessarily see in the main line DCU, and truly listening to what the fans wanted us to make. DC has done competition voting style before, but this was something we really wanted to take down to the core of storytelling – what characters and stories do YOU want to see?


To all,

What is the likelihood of all the final four titles getting their own miniseries?


MMc: Going in, we all plan on having our projects win. Part of the fun is the competitive nature of our group. We believe in every single one of our entries and we hope that we have the winning concept in our group. What is great about the Round Robin process is that the competition almost serves as real time fan feedback. What pitches click with the fans? Which ones fall short? But the best thing is that concepts that may not necessarily have a chance to go through the normal DC Green Light process actually get a platform to be recognized by the fans.

KK: For me, this is very similar to how we garner pitches for any of our published material, but with the caveat of letting the talent know from the start that this is a front-facing, fan-voting competition. And since there is script and art created during the voting process, writers and artists have to be ready to move quickly, once they know they have progressed to the next round. But it all comes down to story and characters – approaching talent and saying “hey, what’s the story you’re absolutely in love with but are worried it’ll never get published.” or “what character or characters do you wish had their own book, and what is the story you would tell?” It’s always an open, honest discussion between my talent and myself with what’s expected, and what we’d want to do if we didn’t have to worry about things like approvals and budgets…and then we go from there!

AM: I typically approach the Round Robin pitches the way I would any pitch that comes across my desk. Even though one of these will be voted as the “winner,” I care about each one of these stories and the creative teams. I’m always looking to get all of my pitches greenlit to share these incredible stories with you all. The thing I love about Round Robin is getting to put forward those passion projects. I’ve always wanted to edit a Conner Kent Superboy book or a Firestorm book, and I’m getting a chance to maybe make that dream a reality!

BM: For me, really, I tried to approach my overall attitude toward all four of my pitches as if they were already guaranteed to be published. And what that resulted in was four pitches that, I think, were all ready for the big time, as it were. But if the question is, how am I handling this, emotionally? It’s nerve wracking, and heartbreaking, and also a ridiculous amount of fun!


Hi! Thanks for your time,

Is there potential for booted stories from the Round Robin to still get published? I would love to see an Alan Scott limited!


BM: The biggest difference for me is that I get to be a part of it this time. I was not yet a member of this editorial group during the first Round Robin, so last year I was watching the competition alongside everyone else. This time, I get to actually be a part of it! So, yeah, that’s a pretty big difference for me.

MMc - This year, we really wanted to make an effort to showcase some characters who haven’t been in the spotlight as much. Katie really brought in a fun concept with Captain Carrot and his best friend Darkseid. I mean…that concept is so good! I wanted that one to go through so badly. We also had some other fun characters like Alan Scott, Madame Xanadu, Black Canary and the Hawks swoop in.

KK: Yes! So this year we wanted to approach the Round Robin 2022 competition in a few new ways – first, we wanted to focus on titles that might not be having their moment in the current mainline DCU – meaning, what characters and stories are we not seeing enough of? Really dial into that. Second, who are some talent that I have not worked with yet? Whose brains have I not picked on their most fun, weirdest ideas yet? And finally, the biggest difference for me between this year and last… I wasn’t eliminated in the first round!! But, sadly, I was eliminated in round 2…which sucks. Yet again, pushed out of my own fun competition!

AM: Coming off of my win from last year with Robins, I stuck to my gut and went with projects I’ve always wanted to see or make with creators I’ve wanted to work with or am close with. I’m a massive DC fan, so for me I ask myself what do I want to see as a fan that I haven’t seen before. So from a concept standpoint, there’s not a ton of difference to me. From a larger Round Robin standpoint, we heard the fans last year and have some things we haven’t talked about yet that’ll be new for this year. More on that later though!


Thanks so much for your passion and sharing your experience with us! Looking forward to what happens next!


AM: Well, in college I studied television production, and that has definitely been a big help for me in comics. It’s allowed me to talk to my artists in a visual language we both understand and I came with a nice understanding of episodic story structure. I also interned for DC in college and started my career here in Talent Relations actually. That was a great place to start because it gave me the opportunity to meet so many of our wonderful creators and start to build relationships with them. But it also gave me the chance to see how best to support them outside of just working on the creative aspects of comics. Being an editor, you end up being many things to your creators, so being able to support them not just creatively but knowing how to help them personally as well really goes a long way.

BM: Oh man, so, for me it started pretty early. I started as a comic writer and had my first story published when I was 15, so this whole “making comics” thing has been going on for a long while. As far as editing goes, I got my start when I was working at Clive Barker’s company, Seraphim, where I worked as a consultant on all things Hellraiser comics and then, eventually, as the Editor-in-Chief of Seraphim Comics, where we produced a few Hellraiser comics anthologies. After that, bounced around for a bit writing and editing here and there and was fortunate enough to get brought on at DC. So, those are the specifics of how I got here, but the much more broad answer is this: I am very patient and very persistent. Persistence goes a long way, lemme tell ya!

MMc: The fun thing about my career is that just about every job that I’ve had has involved DC Comics in some way. My college degree is in Production/Stage Management. I spent eleven years as the stage manager for the Batman Stunt Shows at Six Flags Magic Mountain. I think the one thing the four of us all have is a passion and a love for the medium. Not to mention a love for the diverse characters and storylines in the DCU. I’ve been reading DC Comics ever since I could read. The Wolfman/Perez run on Titans…Crisis on Infinite Earths…those stories are the foundation of my fandom and my love for DC. While I didn’t set out to become a comic book editor, I feel really fortunate that my career path has lead me to a position where I can help forge the direction of some of my favorite characters.

KK: The best part about everyone’s path to being a comic book editor is that they’re all VASTLY different – so you could be doing the most random, unconnected thing and wind up editing comics someday. For me, I NEVER wanted to go into comics – I wanted to make a name for myself, on my own (I’m a very stubborn lady when it comes to that) as a creative. I thought I was going to go into special effects make up (I wanted to make delightfully gory horror movies) – so I worked in film and television. Then I worked at an art gallery for a while (this was in NYC in 2008, so right around the Lehman Bros. crash and all that Bernie Madoff insanity)…and during all of that I thought, what do I really like to do? I like to work with people, I like working in entertainment, I like telling stories, and I like being creative in a world where I can have an effect on the current art world. Turns out comics is the best place to do that…but I had no idea how to start. I knew nothing about comic books or production…so I applied to be a coordinator in the pre-press dept. at DC, learning how a comic is literally made from the ground up. And from there I realized that I wanted to be a comic book editor, I wanted to help shepherd stories and work with the world’s most amazing writers and artists…and I’ve loved every step of the learning process (which, as an FYI, never ends!)


How do you deal with when a higher-up or other colleague at DC makes a decision you think is just plain wrong? We’re all dealing with a little bit of righteous anger at pop-culture mega-corporations right now, between the endings of Supergirl and The Owl House, but even just a decision I think is wrong creatively would absolutely kill me if I were an employee.