May the Speed Force Be With You: "The Flash" Finale's Greatest Moments
It was only three months ago that writer Joshua Hale Fialkov abruptly resigned from DC Comics’ Green Lantern Corps and Red Lanterns before his runs could even begin due to, as Comic Book Resources and Bleeding Cool reported, an editorial edict to kill off John Stewart. The news was met initially by a “no comment” from the publisher, followed by an assurance from incoming Green Lantern Corps co-plotter Robert Venditti that he and writer Van Jensen “have never even contemplated killing John Stewart.” A DC representative added, “Seeing a lot of unverified reports on this. To clarify: John Stewart is not going anywhere.”
So why bring this up now? Because this week’s Green Lantern Corps #21, the first issue of Jensen and Venditti’s tenure, features a pretty obvious wink and nod to the March controversy.
Hello and welcome to What Are You Reading? To see what the Robot 6 crew — or at least two of us — has been reading lately, click below.
Conventions | HeroesCon, which begins Friday in Charlotte, North Carolina, will double in size this year, with the exhibit area increasing from 100,000 to 200,000 square feet. “There’s a whole lot more of everything,” says founder Shelton Drum. Including people? Last year’s convention drew in 17,000 attendees, and Drum thinks this year’s event will attract more newcomers curious about the source material of their favorite movies. [Winston-Salem Journal]
Creators | Peter Bebergal talks with Alan Moore about Jerusalem, magic, comics, and the tendency to conflate gods with superheroes: “It is contrived, because they’re not at all the same. Superheroes are the copyrighted property of big corporations. They are purely commercial entities; they are purely about making a buck. That’s not to say that there haven’t been some wonderful creations in the course of the history of the superhero comic, but to compare them with gods is fairly pointless. Yes, you can make obvious comparisons by saying the golden-age Flash looks a bit like Hermes, as he’s got wings on his helmet, or the golden-age Hawkman looks a bit like Horus because he’s got a hawk head. But this is just to say that comics creators through the decades have taken their inspiration where they can find it. Before I was interested in magic as a viable way of life, I was certainly aware of the occult, and wouldn’t be above taking names or concepts or ideas from the occult.” [The Believer]
Hello everyone, Happy Memorial Day weekend to America, and welcome one and all to What Are You Reading? This week we are joined by special guests Brandon Montclare and Amy Reeder, the creative team behind Halloween Eve and the upcoming Rocket Girl. I spoke to them earlier this month about Rocket Girl, which surpassed its Kickstarter goal but you still have some time to get in on the action and rewards.
To see what Brandon, Amy and the Robot 6 crew have been reading, click below.
Who’s your Green Lantern writer?
If you started reading the series in the ‘60s, odds are it was John Broome. He didn’t write every Green Lantern story of Hal Jordan’s first decade, but he was there for the character’s introduction (in September-October 1959’s Showcase #22), and he lasted until March 1970’s Green Lantern #75.
If you joined the Corps in the the ‘70s, your Green Lantern writer was Denny O’Neil, who had already written a few GL stories before getting the regular gig with the landmark Issue 76. He guided the feature through some rocky patches — including the book’s cancellation, its time as a backup feature in The Flash and its 1976 relaunch — before finally taking a bow with June 1980’s Issue 129.
The ‘80s saw a parade of writers, including Marv Wolfman, Mike Barr, Len Wein and Steve Englehart (and in GL’s time as an Action Comics Weekly feature, Jim Owsley/Christopher Priest and Peter David). Each made his own contribution, be it Hal’s exile from Earth, John Stewart’s star turn, the Guardians’ sabbatical, or the enigmatic Lord Malvolio. The early ‘90s belonged to the neo-Silver Age stylings of Gerard Jones, and the balance of the decade was all Ron Marz and Kyle Rayner. Starting in 2000, Judd Winick took on Kyle for three years, then Ben Raab wrote a few issues, and Marz came back for one last crack at his creation.
And since then, it’s been all Geoff Johns.
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The mythologies built by comics, particularly superhero comics, is often pointed out as one of the great accomplishments of the medium.
There’s no doubt the Marvel and DC universes are impressive feats of world-building. In Marvel Comics: The Untold Story, Sean Howe proclaimed the Marvel Universe “the most intricate fictional narrative in the history of the world”. If you discount DC because of its various universe resets from Crises and Flashpoints and what-have-yous, I guess that’s true. Whoever gets to wear the crown, both sets of characters have been generating dozens of stories, usually hundreds of stories, every month since the late 1930s. Erik Larsen’s Savage Dragon universe might be in third place.
Of course, superhero comics aren’t alone in this: In Japan, popular manga series also tend to get pretty long in the tooth. Osamu Akimoto’s police comedy Kochikame has been running weekly since 1976, resulting in more than 1,700 chapters collected in nearly 200 volumes. Takao Saito’s twice-monthly crime manga Golgo 13 is older, having launched in 1969. One Piece has 69 volumes, Naruto has 64, and Bleach 58.
These are amazing accomplishments, but we don’t appreciate the satisfying arc of a finite story often enough.
More than three months after teasing that he and his Green Lantern collaborator would reteam on “a new project later this year,” this morning Geoff Johns made it official: Artist Doug Mahnke will join him on Justice League of America.
The announcement arrives in a farewell message from the writer in today’s Green Lantern #20, which marks the end of a nine-year run that began with 2004’s Green Lantern: Rebirth. After praising artists Ethan Van Sciver, Ivan Reis and Joe Prado, Johns continues, “And Doug Mahnke … he’s the current superstar I work with every month on Green Lantern and have for years now. Doug, you’re one of the most amazing and unique artists in the business. Your power, grit and sense of wonder can be seen at its very best in Green Lantern #20. I’m fortunate to continue working with Doug as we head over to Justice League of America.”
“The run started with Hal and Sinestro and kind of continued that relationship, which only got stronger when Sinestro became a Green Lantern again and he and Hal were forced to team up. As I was building towards this next confrontation involving the land of the dead, Hal returning from the dead again and Sinestro and him having another change in their relationship, it just felt like the right time to go. Once I got through this next phase of Hal and Sinestro’s relationship and how it went all the way back to ‘Rebirth’ and then to this point, to me, that was the right time to move on. The story decided it. I think the last issue has a lot of stuff in it that puts an exclamation point on everything we did on the run. […] [Hal has] sacrificed his life, and now he has to find his way back again. It started with a ‘Rebirth,’ it ends with a rebirth. It just felt right. Hal is a character who lives for the day and he’s so full of life, death can’t stop him. It was exactly the right storyline to go out on with him.”
– Geoff Johns, talking with Comic Book Resources about his nine-year run onGreen Lantern, which comes to an end Wednesday
DC Collectibles has unveiled four convention-exclusive products that will be offered only to those attending Comic-Con International, held July 18-21 in San Diego.
Fans of Cartoon Network’s DC Nation programming block may want to grab the three-pack of Super Best Friends Forever action figures (above), designed by Lauren Faust and sculpted by Irene Matar. Supergirl, Batgirl and Wonder Girl each stand 6.5 inches, 5.45 inches and 6.8 inches, respectively. The three-pack is priced at $49.95. Or, there’s the Aardman: Superman action figure, designed by Rich Webber and sculpted by Phil Ramirez. Standing at about 6.5 inches, it’s prices at $24.95.
DC Comics’ August solicitations include both the end of “Trinity War” and of four series, including the latest Legion of Super-Heroes title. Otherwise, not much jumps out at me. Even the collected-edition section isn’t that diverse, as it’s heavy on “Death of the Family” books and pretty light on the vintage reprints.
NOT QUITE DEAD
If Talon weren’t a Bat-title, I’d say it was getting ready to be canceled. Issue 11’s solicitation refers to an “epic finale,” with Batman pitching in to help “eliminate the Court of Owls once and for all.” However, because so much work went into making the Court of Owls a credible threat to the Bat-clan, I doubt they’ll be eradicated completely. Likewise, I don’t think Talon is going anywhere, at least not yet.
Similarly, the continued existence of Batman Incorporated is one of the questions posed by the sure-to-be-epic conclusion of Grant Morrison’s Bat-work. In other words, is a revamped Club of Heroes so wrapped up with Morrison that it can’t survive without him? More to the point, is a Morrison-less Batman Inc. still marketable? Presumably the answer rests in the sales numbers for August’s Batman Incorporated Special — which, incidentally, appears to indicate just who among the various Inc.’ers survives the end of the regular series. I guess DC isn’t worried about spoiling such things, because it’s done something similar with the last couple months of Lantern Corps solicits.
Publishing | Image Comics provided the retail news and analysis website ICv2 with worldwide pre-order figures for 15 of its March titles, allowing for comparison with estimates of Diamond Comic Distributors sales to U.S. direct market stores. [ICv2.com]
Creators | Mark Waid pens a tribute to the late Carmine Infantino. [Hero Complex]
Creators | Gilbert Hernandez distinguishes between autobiography and art in his new graphic novel, Marble Season, which takes on a 1960s suburban childhood not unlike his own. [Chicago Reader]
Don’t ask why — because the answer is too boring and has nothing to do with Steven Spielberg — but the other day I was thinking about the original 13 American colonies, and from there the general course of American history across the 18th and 19th centuries. Naturally, from there I imagined how DC Comics would solicit the story of a young nation. It ended up being something like a team book: Meet the states that will form a great democracy — and discover the shocking secret which threatens to tear them apart–!
And then, as fate would have it, DC released its July solicitations, and my stab at patriotic humor was somewhat justified. So there you go.
In any event, on to “Trinity War” –!
WORLD WAR T
Say, remember when “World War III” was an actual part of DC history? I’m not talking about the Great Disaster, or something that happened in the hazy interregnum between the present and the Legion of Super-Heroes, or even the final Grant Morrison/Howard Porter JLA arc. No, as part of 52 (2006-07), “World War III” was the name given to a week-long global Black Adam rampage. I bring it up because it’s no longer in continuity, and we still don’t know (beyond another “Villain Month”) what’s coming in September for the New 52’s second anniversary.
Gather ‘round, kiddos, because we begin with another tale of Gen-X adolescence!
From 1977 through 1986, I grew from a snot-nosed third-grade punk into a snot-nosed (I had allergies) high-school senior, accompanied along the way by at least one big-budget sci-fi/fantasy movie milestone.* Specifically, right in the middle of the run were three sequels by which every self-respecting fan swears: The Empire Strikes Back (1980), Superman II (released in the United States in 1981) and Star Trek II: The Wrath of Khan (1982). Each built on its predecessor using darker elements and/or more “mature” themes, because each had the sequel’s luxury of an established setting.
For Young Tom, though, the cumulative effect of these three movies was mind-expanding, if not mind-blowing. I’m not talking about Empire’s Big Reveal (echoed coincidentally in Khan) or the unsettling sight of a powerless Clark Kent. Instead, each catapulted the fevered suppositions of a junior-high imagination to higher levels of awareness. I went into the theater each time wondering will this be as good? and came out giddy at how much better each one was.
So what’s this have to do with comics? Read on …
Apparently we misunderstood: The New 52 doesn’t refer to the number of titles DC Comics publishes each month but rather the number of times each title changes creative hands. That’s what it seems like sometimes, what with firings by email, quitting on Twitter, rehirings and more. The general impression from behind-the-scenes tales is that the New 52 is in chaos. However, the end product might suggest DC is actually somewhat holding it together.
Creative changes are nothing new; turnover is inevitable. The key is how that turnover is managed. The ideal is to have a long and satisfying run by a cohesive team smoothly transitioning to a new team. Lord knows that doesn’t always happen, and we’ve certainly been hearing about it not happening recently.
With all of the news of creators coming and going, or going before they even get there, it’s easy to get distracted from the results of the finished product. So, I decided to take a look at a sampling of DC’s New 52, from its launch in late summer 2011 to today, and see how the stability of various titles was affected by creative changes. For my survey, I looked at the Justice League family of books, which includes the flagship Justice League, as well as Wonder Woman, Aquaman, Green Arrow and others generally associated with the JLA that haven’t had a big Hollywood movie.
One of the most symbolic moments of Superman is when he changes from his guise as Clark Kent to become the Man of Steel. The idea that the wearing of a costume imbues some kind of unquantifiable power is a key part of what makes superhero comics work; otherwise, they’d just be adventurers and action heroes.
But speaking of change, changes in superhero costumes have become as much a part of the comics as the heroes themselves. From Superman’s early days with his golden emblem to the modern “S” today and on through to other years (including Batman’s countless wardrobe changes), the design of a superhero isn’t static and a redesign has proved, many times, to be just the thing to make a character work.
In this week’s “Six by 6,” I pinpoint six of the most dynamic and powerful redesigns in superhero comics. Redesigns that saved a character from obscurity, put them in a new light or simply simplified what was already there.