Whenever the subject of Harley Quinn has come up, I’ve never been ashamed to admit that I didn’t become a fan of the character until Jimmy Palmiotti and Amanda Conner took the reins back in 2013. Before then, I more so saw her as Joker’s henchgirl. But now, she’s her own woman with a rich supporting cast.
Still, whenever any creative team oversees a specific title for a number of years, you can’t help but wonder what other writers and artists may bring to the table – no matter how much you love who’s in charge at the moment. So, even though I shed a tear when Palmiotti and Conner vacated the throne a few months back, I was ready to embrace change.
In the time since, Frank Tieri has done a fine job as interim writer, but beginning this summer, Sam Humphries (Green Lanterns, Nightwing) will be taking over. Joining him will be John Timms on art – one of the regulars from the previous regime, mind you – so I guess a sense of continuity will be retained.
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That aside, we fully expect the new direction to be as crazy as ever, albeit in a different way. It seems that Humphries wasn’t done taking things to a cosmic level after his tenure on Green Lanterns, as we’re told “Harley [is] kidnapped by two Female Furies from Apokolips, who deliver her to one of Darkseid’s Elite, Granny Goodness, with an offer she can’t refuse: join the Furies, get superpowers and do anything she wants! It’s a sweet deal, and all Harley needs to do in return is hunt down a rogue Fury!”
That’s right, Harley is on a collision course with Darkseid, and we can’t imagine a more oddball showdown at the moment. Here’s what Humphries had to tease:
“Harley Quinn does and says the things we all wish we could get away with. She’s the embodiment of wish fulfillment. Harley is a wild card, and she’s a survivor; two things we all want to be at different times of the day. And Apokolips is just the beginning of our plans for Harley. No one in the DCU will be safe from Harley Quinn.”
The new era kicks off with Harley Quinn #45 on July 4. Covers will be provided by Guillem March and Frank Cho, with one of March’s first examples seen above.