Crisis on Infinite Earths Archives - Robot 6 @ Comic Book Resources

Grumpy Old Fan | ‘Doomed’ ends, bustin’ out all over

Girl with kaleidoscope eyes

Girl with kaleidoscope eyes

The sprawling intertitle crossover “Doomed” wrapped up this week with the release of Superman: Doomed #2. It’s a 40-page installment produced by writers Greg Pak and Charles Soule and artists Ken Lashley, Szymon Kudranski, Cory Smith, Dave Bullock, Jack Herbert, Ian Churchill, Aaron Kuder Vicente Cifuentes, and Norm Rapmund (assisted ably by colorist Wil Quintana and letterer Taylor Esposito). However, it’s getting some attention due to the final page.

Yes, “Doomed” began as a sequel to an as-yet-unseen event — the New 52 version of the monster’s first deadly battle with Superman — but it’s ended, like many a crossover before it, as a tease for  the next big thing. Moreover, it’s joined by the only Futures End special one-shot without its own series (yet); namely, Futures End: Booster Gold.

Accordingly, today’s all about how everything might start to make sense, and how it doesn’t quite make sense for DC to go that way.

SPOILERS FOLLOW for the finale of “Doomed” and for Booster Gold.

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Grumpy Old Fan | ‘The Multiversity’: Adventures on Earth-You

Wabbit season

Wabbit season

Let’s get this out of the way: The first issue of The Multiversity is one of the craziest main-line superhero comics I’ve read in a long time. It’s self-referential. It attempts to engage the reader directly. It leaps around various parallel worlds in great flurries of color, off-kilter captions, and shouty dialogue. It’s apparently also a pretty-direct sequel to Final Crisis, writer Grant Morrison’s 2008-09 big-event miniseries, which — not that it matters much — took place under a different set of cosmological rules.

A few weeks ago I wrote about the interaction between those rules and the need to reference a potentially “invalid” story. Some readers may be frustrated (not unreasonably) by such interactions, and so far The Multiversity isn’t making things easier.

Again, though, consistency across continuity reboots is beside the point. Indeed, with a giant one-eyed bat-thing intoning “WE WANT 2 MAKE YU LIKE US,” consistency itself appears to be one of The Multiversity’s main villains. Change the emphasis slightly and the plot becomes more insidious. “We want to make you like us” — i.e., happy to exist in a state of “anti-death,” an everlasting “moment of ruin.” The imagery isn’t very subtle, and commentators have already compared the Gentry’s members to DC and other big comics publishers. For that matter, Morrison and artist Cameron Stewart made the globular, monocular corporate mascot Mickey Eye the symbol for all that was wrong in the superhero world of Seaguy.  (Coincidentally, that hero also had a funny-animal sidekick.)

My review could end up being in the form of a cop-out, but saying that readers get out of Multiversity what they put into it might actually be the point of the series. As a superhero comic, The Multiversity #1 is perfectly decent. Penciler Ivan Reis, inker Joe Prado, colorist Nei Ruffino and letterer Todd Klein present it in an attractive package. (The fact that Reis is the current Justice League penciler probably has its own metatextual significance, given the subject matter.) However, just as the Multiverse is a framework for various parallel realities, so The Multiversity #1 provides a framework for engaging with those realities — and that’s a little harder to quantify.

SPOILERS FOLLOW, assuming plot still matters for this sort of thing.

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Grumpy Old Fan | Let’s do the time warp again

It's the pelvic thrust that really drives 'em insane

Put your hands on your hips

A big part of me still thinks Forever Evil would have worked a lot better as one of those late-1990s done-in-five-weeks events. I did enjoy the final issue, but it was because lots of things actually happened, and it made me wonder why they couldn’t have occurred a bit more quickly.

Still, the last-page reveal warmed my withered nerd heart. It’s the sort of thing that cries out for a boatload of analysis based on a set of comics published when I was in high school. Could be a stretch, but I’ll risk it.

SPOILERS FOLLOW, therefore, for Forever Evil #7 and probably some other stories you have already read.

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What other covers feature a ton of characters?

Deadpool.27.Cover

Deadpool #27 made headlines yesterday when it was announced that the cover had set the record for the most comic book characters on a single issue cover, as declared officially by Guinness World Records. It also brought a lot of discussion in our comments, as fans asked what the previous record holder was and if, indeed, it truly beat out every other cover out there as depicting the “most comic book characters on a single issue cover.”

So I thought maybe we should take a look at some of the candidates folks pointed out …

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Grumpy Old Fan | Twelve DCs of Christmas

The Old Man could change a fuse quicker than a jackrabbit on a date

The Old Man could change a fuse quicker than a jackrabbit on a date

Because it’s the day after Christmas, and I don’t want to write 1,500 words about Forever Evil and its Justice League tie-in — except to say they both felt a lot like stereotypical Lost, and not necessarily in a good way — here’s a stocking’s worth of number-based observations about DC past and present.

Twelve Crisis issues: I talk a lot about 1984-85’s Crisis on Infinite Earths, mostly because it so completely transformed not just DC’s shared-universe continuity, but its publishing philosophy. On its merits, Crisis is a mixed bag, pairing stunning visuals with a sometimes-flabby narrative. However, despite its sprawl, COIE ended up with a definite structure. The first four issues deal with a mysterious antimatter onslaught which destroys whole universes, apparently including the familiar Earth-One and Earth-Two. The final page of Issue 4 is nothing but black “smoke” clearing away, revealing blank white space. Issues 5 and 6 offer vignettes on the five surviving universes, as time periods intersect in “warp zones” and ordinary people see multiversal counterparts of departed loved ones. Issues 7 and 8 are, to put it bluntly, the Big Death issues, with Supergirl saving her cousin from the Anti-Monitor and the Barry Allen Flash destroying Anti-M’s latest doomsday weapon. Issues 9 and 10 feature the “Villain War” and a two-pronged time-travel assault on Anti-M’s efforts. That ends with a shattered, otherwise “blank” comics panel, as the Spectre wrestles Anti-M for control of history itself — and issues 11 and 12 feature the heroes of a new, singular universe fighting a final battle against the Anti-Monitor. Today’s decompressed (and sometimes decentralized) Big Events focus more on character moments and slow burns, and more often than not they don’t have to streamline fifty years of continuity, but Crisis remains a model for just how big an Event can be.
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Grumpy Old Fan | It only feels like ‘Forever’

All that evil and no goatees

All that evil and no goatees

Forever Evil #1 is an uneven debut for the seven-issue miniseries, revealing that the Crime Syndicate — for those who came in late, basically an evil Justice League from the parallel Earth-3 — has killed all the Leaguers and is recruiting allies among DC-Earth’s supervillains. Although a handful of scenes are genuinely chilling, much of it is exposition and survey, with some of that geared apparently toward ancillary miniseries. Geoff Johns’ script works well when his characters can give speeches, but turns awkward and simplistic in crowd scenes. David Finch’s pencils are appropriately murky and grim, although there’s not a lot of subtlety; and inker Richard Friend seems to have gotten quite a workout. (This is the superhero-comic equivalent of a downpour at dusk.) Fortunately, colorist Sonia Oback manages to bring some variety to the gloomy proceedings, whether it’s brightening up a neon-lit cityscape or energizing a crackling solar corona.

Still, for the start of the first “universe-wide” Big Event of DC’s New 52, Forever Evil #1 feels like an apocalyptic tease. The issue’s main shocks aren’t as shocking as one might imagine, and the demands of a shared superhero universe will require them to be reversed. There’s undoubtedly more carnage to come, but for now it’s an exercise in attitude.

Naturally, there’s more after the jump. SPOILERS FOLLOW …

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Six DC Comics stories that would make great animated features

Owls2

Some might say we’re experiencing the Golden Age of superheroes in film, but in reality it’s just live-action catching up to animation. Warner Bros. Animation has been a trailblazer in that area, with 26 feature films based on DC Comics’ characters since 1993. And with the recent release of Justice League: The Flashpoint Paradox, based on the 2011 Flashpoint crossover, we’ve come up with a half-dozen other DC series or arcs Warner Bros. could (and should) look to for future animated films.

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Grumpy Old Fan | Who won the ‘80s?

Where the over-people gather to watch big-screen botanical throwdowns

A couple of weeks ago, I wondered whether we could trace the entire sidekick-derived wing of DC’s superhero-comics history back to Bill Finger. Today I’m less interested in revisiting that question — although I will say Robin the Boy Wonder also owes a good bit to Jerry Robinson and Bob Kane — than using it as an example.

Specifically, this week’s question has nagged me for several years (going back to my TrekBBS days, even), and it is this: as between Alan Moore and the duo of Marv Wolfman and George Pérez, who has been a bigger influence on DC’s superhero books?

As the post title suggests, we might reframe this as “who won the ‘80s,” since all three men came to prominence at DC in that decade. Wolfman and Pérez’s New Teen Titans kicked off with a 16-page story in DC Comics Presents #26 (cover-dated October 1980), with the series’ first issue following the next month. Moore’s run on (Saga of the) Swamp Thing started with January 1984’s issue #20, although the real meat of his work started with the seminal issue #21. Wolfman and Pérez’s Titans collaboration lasted a little over four years, through February 1985’s Tales of the Teen Titans #50 and New Teen Titans vol. 2 #5. Moore wrote Swamp Thing through September 1987’s #64, and along the way found time in 1986-87 for a little-remembered twelve-issue series called Watchmen. After their final Titans issues, Wolfman and Pérez also produced a 12-issue niche-appeal series of their own, 1984-85’s Crisis On Infinite Earths.* The trio even had some common denominators: Len Wein edited both Titans and Watchmen (and Barbara Randall eventually succeeded him on both), and Gar Logan’s adopted dad Steve Dayton was friends with John Constantine.

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Grumpy Old Fan | Will DC’s past catch up with it?

A Flash family reunion

Three recent bits of DC news are running together in my mind. Cumulatively they may amount to nothing — housekeeping details and/or fallout from the New-52 relaunch — but individually they seem significant, because they may well speak to the proverbial “reset button” which DC claims does not exist. Put simply, I think that reset button exists, I think it affects all of the New-52 books, and I expect it to be revealed within the next year or two. Whether it gets pushed, and/or how much resetting occurs, is another matter.

While it may be overprotective to put a SPOILER WARNING so early in the post, I realize some of you may want to discover these things as they are actually published.

I don’t blame you — I was trying to avoid the Wonder Woman thing, but that’s what I get for reading convention coverage. (And yes, I have seen the recent news about a certain Flash character.)

Anyway, SPOILERS for potential DC milestones big and small….

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DC’s Crisis crisis: In New DCU, those major events never happened

Crisis on Infinite Earths #5

DC Comics Co-Publisher Dan DiDio triggered a minor crisis of his own Saturday when he announced on Facebook that, “after further review, there have been no Crisis events in the New DCU.”

The proclamation sent blogs and message boards into overdrive as fans grappled with the ramifications of no Crises — no Infinite Crisis, no Final Crisis, and no Crisis on Infinite Earths, the 1985 “maxi-series” whose impact was so profound that DC history became defined by “pre-Crisis” and “post-Crisis,” comics’ answer to B.C. and A.D.

But clearly in the universe of the post-Flashpoint New 52 there was a Final Crisis, as Bruce Wayne “died” — or, rather, he was hurled back through time — and was temporarily replaced as Batman by Dick Grayson. There are undoubtedly other loose threads that are best not picked at, but that’s the one that springs immediately to mind. It’s one of the pitfalls of leaving the continuities of some characters, like Batman and Green Lantern, essentially intact, while sending dozens of others back to square one.

Noting the tumult his announcement created, DiDio returned on Sunday with clarification. Sort of: “For those in crisis over Crisis, let me clarify. The topic of Crisis was much discussed among the editors and talent working on The New 52. With so many characters and histories restarting, major events like Crisis are harder to place when they work for some and not for others. (that was one of the problems coming out of the original Crisis). While we are starting aprx five years into our heroes’ lives, we are focused on the characters present and future, and past histories will be revealed as the stories dictate. Yes, there have been “crisis” in our characters lives, but they aren’t exactly the Crisis you read before, they can’t be. Now, what this means for characters seen and unseen…… well, that’s the fun of The New 52, infinite stories, infinite possibilities, with the best yet to come. [...] P.S. that’s the last time I try and answer a Facebook question before rushing out for dinner.”

That should clear things up! Right?

(via DC Women Kicking Ass)

‘Every generation needs the comics recreated for them’

In a well-timed interview with The Village Voice, veteran editor and writer Marv Wolfman, chief architect of the landmark Crisis on Infinite Earths, offers an interesting perspective on DC Comics’ relaunch, addressing continuity, “event fatigue” and how the 1985 reboot didn’t accomplish all that he’d initially hoped.

Wolfman reveals that, similar to DC’s New 52, his original plan post-Crisis was for all the publisher’s titles to start fresh, with a new No. 1 issue.

“When I first pitched Crisis my belief was, at the end, that a new DC universe would be formed,” he tells the weekly, “all the books would begin with number 1 starting with a new origin in each, and Crisis would never be mentioned again because, as I set it up, the Earth would be reformed at its origin and so what had been had never happened as a new Earth was created. The Crisis itself therefore “never happened” though its effects would last. But ultimately the Powers That Be decided they didn’t have enough people to pull that off and so the Crisis was constantly referred to which I always felt was a mistake.”

He also touches upon the need for comics to change — “they need to evolve, and they need to keep fresh in order to stay relevant” — his dislike for “overarching continuity” — “The line I’ve been using since before Crisis is, ‘Continuity holds the best writer hostage of the worst'” — and the post-Crisis rise of event comics.

“In a way, Crisis spawned an entire industry of mega-events when it should have only given birth to those kinds of events where something vitally important had to be achieved,” Wolfman says. “Sadly, it didn’t turn out that way so these days you often here the term ‘event fatigue’ being bandied about.”

Grumpy Old Fan | For the Anti-Monitor, knowledge is power

Hey there -- you with the stars in your eyes...

I talk about Crisis On Infinite Earths a lot in this space, and justifiably so, given its place in DC history. However, I’ve never been entirely comfortable with its lead villain, and it starts with his name: The Anti-Monitor.

Now, I know he calls himself simply “The Monitor,” and I know (thanks to various recent DC events) that he’s actually the Monitor assigned to the Anti-Matter Universe. Still, he’s best known with the prefix — and again, the prefix is where the trouble begins.

See, Anti-M (so nicknamed by R.A. Jones, critic for the classic fanzine Amazing Heroes) isn’t the only villain defined as the evil counterpart of a familiar superhero. There’s the Reverse-Flash (and his Golden Age predecessor, the Rival), the Cyborg Superman, the Composite Superman, the Sinestro Corps, Black Adam, and probably some others buried deep in my Who’s Whos. Heck, I can think of three “anti-Batmen” right off: Cat-Man, the Wrath (parents fatally shot by Jim Gordon on the same night the Waynes were killed), and Prometheus (psychopathic-criminal parents also shot by cops).

Anyway, those villains all have the advantage of well-known opponents. The Anti-Monitor is the evil answer to … a guy DC readers barely knew.

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Comics A.M. | Archie addresses gays in military; NYT explains Crisis

Kevin Keller #2

Publishing | We noted in late April that Archie Comics appeared to be embracing cultural and political commentary with its upcoming Kevin Keller miniseries, which features Riverdale’s first openly gay character and his father, a retired three-star general. But now the publisher, or at least the character, is going a step further, marching into the middle of the debate over gays and lesbians openly serving in the armed forces by revealing that Kevin aspires to be a journalist, but only after attending the U.S. Military Academy and becoming an Army officer. “Even though we don’t tackle the specific issue of Don’t Ask Don’ Tell, the goal was to show that patriotism knows no specific gender, race or sexual orientation,” cartoonist Dan Parent says. “While it sounds like heavy subject matter, I tried to show it simply that Kevin, like his dad, loves his country. Being gay doesn’t effect that in any way.” [The Associated Press]

Publishing | DC Comics’ line-wide reboot has received extensive coverage by mainstream media outlets, based largely on the original USA Today article or The Associated Press report. But my favorite piece is this one by George Gene Gustines that turns back the clock to 1985 and attempts to explain to The New York Times audience the effects, and problems, of Crisis on Infinite Earths, and the publisher’s subsequent attempts to streamline continuity: “… If the goal was to make the DC universe easier to understand, the end result was the opposite: to this day, fans frequently mention ‘pre-Crisis‘ and ‘post-Crisis‘ as a way to distinguish stories. Twenty years later, in the Infinite Crisis limited series, DC tried to clean continuity up again: Superman’s career as Superboy was back; Batman knew who murdered the Waynes; and Wonder Woman was a founder of the Justice League again.” [The New York Times]

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Grumpy Old Fan | Who’s got room for Professor Zoom?

Flashpoint: Reverse-Flash #1

While it might not be much, Saturday’s Free Comic Book Day will bring our first real glimpse at the world of Flashpoint. I’ve been looking at the looming alternate-universe epic as little more than a fun way to spend the summer — which would be fine, by the way — but apparently that is just crazy talk. Everything will change, as it always does; as it did with Brightest Day and Blackest Night and Final Crisis, etc., etc.

Naturally, there are different degrees of “change,” from wholesale reorganization to continuity tweaks. 1985’s Crisis On Infinite Earths gave DC carte blanche to rework characters from the ground up. 1994’s Zero Hour, 2005-06’s Infinite Crisis and 52, and 2008-09’s Final Crisis also allowed DC to tinker with the timeline, mostly on a small scale. More esoteric devices like Hypertime, Super-punches, and plot-specific time travel have produced and/or explained certain changes.

However, in practical terms, the post-COIE changes haven’t upset too many apple carts.  Oh, Zero Hour tried to clean up Hawkman’s history, and it also facilitated a new Legion of Super-Heroes timeline, both of which were big deals.  More recently, though, Infinite Crisis gave Clark Kent a “secret Superboy” career and restored certain aspects of Batman’s and Wonder Woman’s histories, but those developments stayed in the background. Accordingly, a change that doesn’t affect a title’s regular storytelling practice doesn’t seem like much of a change.

And therein lies the real puzzle of Flashpoint: what room is there, across DC’s superhero line, for the kind of change which excites more than it frustrates?  Of the 55 DCU/superhero-line titles DC will publish in July (as the big event reaches its midpoint), 17 are part of Flashpoint, and many of the rest are dealing with their own ongoing arcs. Today we’ll look at who might be flexible, and speculate a little on what might happen.

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Grumpy Old Fan | Lincoln’s log: lessons from Legacies

DC Universe: Legacies #3 -- the JLA by Garcia-Lopez and Gibbons

There’s a weird little sequence in the middle of DC Universe: Legacies #3 when the narration’s timeline goes all hazy and oblique, in order to move the story from sometime in the Eisenhower/Kennedy years right into the “X years ago” of modern continuity. Because Legacies tracks some sixty-five years of costumed crimefighting, this sequence bridges the gap between the Justice Society’s retirement and Superman’s debut.

“Hazy and oblique” are also good words for describing DC’s approach to long-term continuity. The history of the DC Universe is well-settled up to the early 1950s, but past then it becomes elastic. This is something we’ve come to expect: fudging the calendar keeps our heroes both as experienced and as youthful as they need to be. However, each passing year also widens the gap between the end of the Golden Age (early ‘50s) and the beginning of the Silver (thought to be 12-15 years ago). Through reader-identification character Paul Lincoln,* DCUL’s writer (and longtime DC favorite) Len Wein aims to put a human face on all those four-color adventures.

That sounds like the premise of 1994’s Marvels and its spiritual descendant Astro City. Really, though, any halfway-entertaining super-survey needs a narrator with a recognizable point of view. Even 1986’s History of the DC Universe, which was basically a series of George Pérez pinups arranged in chronological order, took its florid prose ostensibly from Harbinger’s meditations on the nature of heroism.

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