Greg responds...

Hmmm, I don't love answering this kind of question casually. It requires research that I haven't (yet) done. But I'll give it a shot. Just don't hold me to it.

B-01 Robin/Nightwing - Protestant Christian of some kind.

B-02 Aqualad - Atlantean Pagan.

B-03 Kid Flash - Protestant Christian of some kind.

B-04 Superboy was given no religion.

B-05 Miss Martian - In theory, grew up worshipping the Gods of Mars.

B-06 Red Arrow - Protestant Christian of some kind.

B-07 Artemis - Fairly confident, she wasn't brought up with any faith...

B-08 Zatanna - Catholic.

B-09 Rocket - Baptist, maybe?

B-10 Tempest - Atlantean Pagan.

B-11 Aquagirl - Atlantean Pagan

B-12 ?? - ??

B-13 ?? - ??

B-14 ?? - ??

B-15 ?? - ??

B-16 Batgirl - Protestant Christian of some kind.

B-17 Bumblebee - Protestant Christian of some kind.

B-18 Lagoon Boy - Atlantean Pagan.

B-19 Beast Boy - Protestant Christian of some kind.

B-20 Robin - Protestant Christian of some kind.

B-21 Wonder Girl - - Protestant Christian of some kind with a new respect for Amazon Pagan.

B-22 Blue Beetle - Catholic.

B-23 Impulse - Protestant Christian of some kind (assuming there was time for faith post-Reach Apocalypse).

B-24 ?? - ??

B-25 ?? - ??

B-26 ?? - ??

Greg responds...

1. Mostly, I'm not going to answer this, but I will say, it never made much sense to me that there were only three Graysons (total). I was also inspired by the Flying Wallendas.

2. No. Or at least not consciously.

3. NO COMMENT.

4. Why does Dick EVER have to "grow dissatisfied with Batman and break off"? That hasn't happened on Earth-16. He's simply grown-up. Their relationship is solid.

Greg responds...

Thank you.

Greg responds...

1. I don't know how Cartoon Network's broadcasting arm defines things, but from a production point of view, Season One consisted of 26 episodes (from "Independence Day" through "Auld Acquaintance") and Season Two is another twenty episodes (from "Happy New Year" to [CENSORED] ).

2. Feel like I've answered this, but maybe not:

201 - Greg Weisman
202 - Nicole Dubuc
203 - Kevin Hopps
204 - Greg Weisman
205 - Brandon Vietti
206 - Peter David
207 - Kevin Hopps (story), Paul Giacoppo (teleplay)
208 - Greg Weisman
209 - Jon Weisman
210 - Kevin Hopps
211 - Nicole Dubuc
212 - Paul Giacoppo
213 - Greg Weisman
214 - Kevin Hopps
215 - Jon Weisman
216 - Kevin Hopps
217 - Brandon Vietti
218 - Peter David
219 - Greg Weisman
220 - Kevin Hopps

So I guess the final score for Season Two is:
Kevin Hopps - 5. 5
Greg Weisman - 5
Peter David - 2
Nicole Dubuc - 2
Brandon Vietti - 2
Jon Weisman - 2
Paul Giacoppo - 1.5

And, of course, Brandon, Kevin and I came up with and broke EVERY story. And I wrote every premise.

3. That was our hope.

Greg responds...

1. I never said it was the LEAGUE'S first transport test. It wasn't. It was a Zeta-Beam accident that took place during an experiment conducted by Dr. Erdel (the namesake of the Erdel Initiative where Adam Strange and Eduardo Dorado, Sr. work). This was in 1955, i.e. almost half a century before the founding of the Justice League in 2003.

2. By now, you know the answer to that question.

3. Wishful thinking.

4. Yes. In fact, her designation has changed twice: once after she joined the Team and then again when she joined the League.

5. Exactly.

Greg responds...

1. Pattern.

2. By now, you've seen it. Our feeling was that Season One told a story between July 4th and December 31st, while Season Two told a story that took place between January 1st and July 4th. So there wasn't likely to be any confusion after the first "FIVE YEARS LATER" chyron. It gets slightly more complicated in the Young Justice: Invasion comic books, because we'll be constantly bouncing back and forth between Season One, Season Two and within the timeskip. So starting with issue #20, the timestamp gets an additional piece of information to disclose the year.

Greg responds...

1. During Season One, quite solid. During Season Two, they're estranged - to protect them.

2. Not particularly.

3. Probably there was, before he (seemingly) betrayed the kingdom.

4. Not particularly.

5. Good.

Greg responds...

1. Basic SHAZAM powers, yeah.

2. By now, you've hopefully seen that Michael T. Weiss is the voice of Captain Atom.

Greg responds...

You're very welcome. Of course, we're on summer hiatus now, but you got 15 straight episodes first, and a lot of series go on hiatus for the summer, so I hope we're forgiven and that you'll be back with us in the fall.

Greg responds...

Well, by now, you probably know that in fact Guardian/Jim Harper was NOT in fact Red Arrow's uncle. Instead, BOTH were clones of the original Roy Harper, i.e. Speedy. Guardian was force-grown to be older, but he also was cloned SECOND, so he's actually younger.

Red Arrow did believe for all of Season One that Guardian was his father's much younger brother.

I've never heard of the BTVA Awards and had no idea we were nominated? Did we win?

Greg responds...

1. Nope. Although as Superman stated, the option exists to vote no to all new members.

2. I don't think unwieldiness is a big concern. There's no rule that all Leaguers have to go on all missions.

3. Nope. Just a majority.

4. No.

5. By the GENERAL public... I kinda doubt it. But he's a leading physicist in his field. Many people would have heard of him.

6. Potentially. It'll certainly come in handy in Season Two. (WHOOPS!! SPOILER!!!)

Greg responds...

I think it has more to do with economics than "faith" - but I'll admit that was a decision made above my pay-grade.

Greg responds...

While developing Season One, we had a solid idea of what we had in mind for Season Two - including the time skip. And we had/have solid ideas for Season Three, including another time skip.

Greg responds...

0. I understand and feel your pain, but it's now fair game to check the unanswered questions as the moderators are booting all spoilers out.

1. It was fake.

2. It's pheromone driven.

3. Sure. But not easily.

4. On occasion.

5. Nabu doesn't, but his host does. And when is he NOT on duty?

Greg responds...

Sure.

1. We start/started by breaking down the entire season on index cards on a VERY large bulletin board.

2. Once the basic arc was approved, I wrote up premises for every episode in the season. Each premise is about a page long.

3. We brought in our freelance writers and broke down a handful of episodes at a time, with each writer in the meeting (myself included) taking one episode as their own, but with every writer in the meeting contributing ideas and notions to everyone's story.

4. The writer goes off with my written premise and the notes from the meeting and writes up an outline. This is a prose document, broken down by scene/sequence of about 8 to 10 pages in length. For me, as a story editor this is a VERY important step, as it nails down the story, making script writing much easier.

5. I do a rewrite on the writer's outline and submit it to WB, CN, DC, Brandon Vietti and the episode's director for notes.

6. The writer goes off with my revised outline and all the notes and writes a script.

7. I do a rewrite on the writer's script and submit it for notes to WB, CN, DC, BV, S&P, legal and the episode's director. Usually showed it to Kevin Hopps as well, who was great at catching my mistakes. The first season, Kevin was on staff, and it was part of his job. The second season, he just did it as a favor. Good guy.

8. I do another rewrite or polish based on all the notes.

9. We record the script, casting any new rolls, etc.

10. Simultaneously, the storyboards are begun...

11. While at the same time, design work for the episode begins: characters, backgrounds, props, effects. This is ALL black and white line-art at first.

12. The boards are roughed out and get notes from the director.

13. The boards are cleaned up and submitted to Brandon and myself.

14. Brandon and I give notes, and the boards are revised.

15. Meanwhile, designs are approved and then we go through the same process with color and background painting.

16. Boards are slugged for time to make sure the show isn't too long or too short.

17. X-Sheets (timing sheets) are created to give detailed information to the animators about how long each individual action will take and to give mouth movements to the characters.

18. All these materials are shipped to Korea to either Moi or Lotto to be animated.

19. We occasionally call for "Wedge Tests" that allow us to preview important or tricky bits of animation in advance to make sure we're getting what we want.

20. The animation comes back rough from overseas. Our editor Jhoanne Reyes compiles it into what we call an A-Frame. It's a very ROUGH cut.

21. Brandon, Jho, David Wilcox and myself call retakes, i.e. we ask the overseas studio for animation corrections. We also call out visual effects for Matt Girardi.

22. Brandon, Jho and I edit the episode, LOCKING it to the exact time that the network requires.

23. We spot the locked episode with our composers, Dynamic Music Partners, pointing out where and what we are looking for in the music.

24. We do the same thing with Audio Circus, our sound effects experts.

25. We preview the music in advance of the sound mix to make sure it's on target.

26. Generally, by now most of the retakes have come back from Korea and Matt's done most of his effects work too.

27. We mix the show for sound. That is we sit in a room and painstakingly balance the sound effects with the foley with the music with the dialogue.

28. We "On-Line" the episode. This is our last final view of the finished product to make sure everything is as good as time, budget and our abilities will allow it to be.

There's obviously more to it than all of the above, but that should give you the basics.

Greg responds...

1. No. It has more to do with already existed in the DC Universe (pre-New 52, which didn't exist yet when we were working on our seasons).

2. I can't think of any other conscious influences, but I won't deny that it's all part of the soup.

3. The Team is big enough now - and has been, frankly, since the beginning - that it doesn't always make sense for everyone to go on every mission. That's why we have squads.

An Ask Greg Helper responds...

JIM HARPER: "We get it, you're a clone! But you're not the only clone on this rooftop, and I know from personal experience how tough it was to come to grips with being a copy of someone else. That's why I gave up my identity as Guardian - so that I could figure out exactly who Jim Harper is supposed to be."

[From "Young Justice" episode 204, "Salvage." Originally aired May 19, 2012.]

An Ask Greg Helper responds...

Greg Weisman says:

"As you noted, I have NOT had the time to read the New 52, so I will not comment on that specifically. Whether or not it works creatively depends more than anything else on execution. Since I haven't seen the execution, I can't respond to how it works creatively. But I KNOW that commercially it's been a HUGE hit. I like to believe that it wouldn't have done quite so well, if it wasn't executed well too.

But generally, on the idea of reboots, I do have a handful of thoughts:

1. I don't want to be a hypocrite. When we started Spectacular Spider-Man and again on Young Justice, we were effectively doing a continuity reboot. I feel when adapting something to a new media, that's essential, but it doesn't change the fact that (a) we did it and (b) I was relieved to be able to do it. Relieved to be able to jettison elements that I felt didn't work or were redundant or confusing, etc. Our goal, particularly on Spider-Man, was to come up with something Classic, Cohesive, Coherent, Contemporary and Iconic. So how can I object if the comics themselves want to do this?

2. In the end, whether or not either SpecSpidey or YJ was/is successful depends on our execution of our ideas, additions and cullings. I like to think both shows are successful, but that's a judgement each individual viewer would have to make for him or herself.

3. I was working on staff at DC Comics during the publication of the original Crisis on Infinite Earths. In fact, during my very first editorial meeting, I raised the question as to why we weren't starting ALL our books over (with the numerical exceptions of Detective and Action Comics) with issue #1. I remember very clearly a collective groan rising up from the conference room table. (They had dealt with this question for months before my arrival.) On the one hand, they wanted Crisis to be a real sea-change, a true reboot (before we knew that term). On the other hand, if you truly reboot Batman, then Robin doesn't exist yet. No Robin, no other sidekicks either. So no Teen Titans. And at the time, the New Teen Titans was the company's best selling book.

4. So the end result was that some things got rebooted and some did not.

5. This was complicated by the fact that certain creators came late to the party, and certain characters got reboots too long AFTER Crisis.

6. And so, as a READER, I couldn't help feeling that - rather than simplifying the continuity - Crisis made it more complicated. This will happen in general, naturally, as time passes and more and more comics are produced by a variety of creators and editors, but Crisis seemed to exacerbate the problem for me personally.

7. In part this was because, I really liked the DC Multiverse. I agree that it was abused to the point of confusion. (And I think it was nuts that Earth TWO had the forties heroes and Earth ONE had the sixties heroes. Just the odd backwards numbering itself created additional unnecessary confusion.) But if limits had been placed on the number of parallel earth stories and crossovers, I think it could have been fine.

8. ESPECIALLY, if they had created a new Earth-THREE, starting over with heroes of the eighties, with Superman and Batman (being new to the hero thing but) remaining relatively constant. But with a new Green Lantern (for example) as different from Hal Jordan as Jordan was from Alan Scott.

9. But that didn't happen. And in fact, though I've read very few comics since 1996, my understanding is that reboots have hit over and over at both DC and Marvel. That negates reader trust in the worth and weight of the stories they're reading. It's more insidious than obvious. And you risk alienating old readers, even as you may or may not attract new ones. You'll always get a short term gain off of a reboot, because everyone wants to check it out. But long term...

10. And going back to my first point - which is that most everything depends on execution - I personally didn't love the execution of some of the post-Crisis rebooting. Some people may have loved it. And that's totally legit. But some of the rethinking on certain individual characters didn't work too well for me.

11. Though personally I think the Bates-Weisman-Broderick reboot on Captain Atom from his Charlton incarnation was brilliant. ;)

12. So, personally, my feeling on reboots in general is that you either do them or you don't. You've got to be thorough and ruthless about it, or don't bother, because otherwise - long term - you're creating more problems than you're solving.

13. And still and all, ultimately, it all depends on execution."

[Response recorded on February 15, 2012.]

An Ask Greg Helper responds...

JOHN STEWART: "I'll alert Hal. He and Guy are on Oa with the Green Lantern Corps."

[From "Young Justice" episode 201, "Happy New Year." Originally aired April 28, 2012.]

An Ask Greg Helper responds...

Greg Weisman says:

"Alyson Stoner as Batgirl."

[Response recorded on June 4, 2012.]

An Ask Greg Helper responds...

Greg Weisman says:

"All this has required some adjustments. The original plan was to finish all the stories set DURING Season One before rebranding the book. But TPTB at DC understandably decided that since the television show has already been rebranded, we shouldn't wait that long to rebrand the comic. And given that, I wanted to launch the rebranding with a BIG story that featured all - or nearly all - of the Team. So the Green Arrow, Black Canary, Artemis, Red Arrow story (set after episode 114), I originally had planned as a two-parter for issues 20-21 will have to wait. Given enough issues (keep buying those books people!), we'll get to everything eventually - including that Arrow-Family story. The new structure will use our timestamps to allow us to bounce back and forth (even within a single issue) from Season One to Season Two to the gap between seasons and BEYOND..."

[Response recorded on June 13, 2012.]

An Ask Greg Helper responds...

JIM HARPER: "We get it, you're a clone! But you're not the only clone on this rooftop, and I know from personal experience how tough it was to come to grips with being a copy of someone else."

[From "Young Justice" episode 204, "Salvage." Originally aired May 19, 2012.]

An Ask Greg Helper responds...

Greg Weisman says:

"New voice actors, including Mae Whitman ('Arrested Development', 'Avatar, the Last Airbender') as Wonder Girl..."

[Response recorded on April 27, 2012.]