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I’m pretty sure every other DC-Comics blogger in the known universe will be doing this, but for me it is an imperative: from now through the end of the month, this space will give short, probably reactionary, and likely ill-considered reviews of all 52 new titles. Not surprisingly, then, this week is all Flashpoint #5 and Justice League #1.
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I liked Flashpoint #1 pretty well. I thought it was a promising start to a story that — in a daring departure for a big event — could stand on its own without universe-altering ramifications.
Of course, that was in early May, a lifetime ago.
While Flashpoint #5 finishes that story, it does so in a way that feels maddeningly hollow. Not the epilogue, mind you — that sequence just manages to avoid mawkishness, and is a well-done counterpoint to the end of issue #1. No, my problem with issue #5 (and to a lesser extent with the miniseries generally) is the way in which writer Geoff Johns apparently just decides he needs to wrap things up.
SPOILERS FOLLOW for Flashpoint #5, and later for Justice League #1 …
One of the more precarious parts of DC’s New-52 relaunch is this notion that a whole lot of in-story history happened over just five years of comic-book time. So far, this comes primarily from narration in the new Justice League #1, indicating that the team was formed “five years ago,” when “the world didn’t know what a super-hero was.”
Now, this may not be an entirely accurate measurement of the relaunch’s age. Practically by definition, the Justice League consists of heroes with fairly well-established careers, so we have to think that its charter members had been around for a little while before teaming up. Furthermore, in the context of the New 52 specifically, we can infer from what we know about the new Action Comics — which will show him less-powerful and with a more mundane costume — that Superman debuted some time before the events of Justice League #1. (According to Comics Alliance’s account of Friday’s New-52 Comic-Con panel, Action initially takes place just a few months before Justice League.)
This is not necessarily another post about DC’s post-Flashpoint superhero titles. However, since we superhero readers must deal with a climate of perpetual change, I often wonder just how far DC could go in rolling back its big changes.
In a sense, the first big set of changes started in 1956, with Barry Allen’s debut as the new Flash. Barry’s introduction acknowledged explicitly that there had been a previous (albeit “fictional”) Flash, whose name Barry took and whose costume was Barry’s inspiration. You know the rest: new versions of Green Lantern, the Atom, Hawkman, etc., followed; they all teamed up as an updated Justice Society called the “Justice League”; and they were joined by a number of new characters like Adam Strange, the Hawk and the Dove, and the Doom Patrol.
After that, though, DC’s Silver Age of the 1960s was exciting but uneventful, because (outside of a few marriages) its status quo was never really challenged. Accordingly, when the Doom Patrol was murdered (in September 1968′s issue #121) and Dick Grayson left Wayne Manor (in December 1969′s Batman #217), DC’s shared superhero universe moved into a new phase.
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In recent years, we’ve seen a boatload of comic books and graphic novels make their way to the silver screen, from Big Two stalwarts like Spider-Man and Batman to independent titles like Scott Pilgrim and 30 Days Of Night. Among the various adaptations, though, is an overlooked veteran who has fueled some of comics biggest successes on the big and small screen: Marv Wolfman.
With this year marking his 43rd year in the comic industry, Marv Wolfman has done it all: he’s been editor-in-chief of Marvel Comics, wrote one of the defining event series of all time in Crisis On Infinite Earths and created memorable characters such as Blade, Black Cat, Nova, Deathstroke and the New Teen Titans. He pioneered the idea of inventory stories at the major publishing houses, and as a creator he was the catalyst for companies to start crediting creators by name in comics. He’s been one of the key figures in comics adaptations in video games and animation, scripting episodes of Teen Titans, Batman: The Animated Series, Transformers, Spider-Man, Cadillacs & Dinosaurs and even some non-comics hits like Jem and The Garbage Pail Kids.
Marvel’s first major Hollywood success came thanks to the Marv Wolfman & Gene Colan creation of Blade, and his work on The New Teen Titans was one of the pillars of successful Teen Titans cartoon. But with all that work out there, comics still has a lot of Wolfman gems to offer movie producers. Here’s a highlight of some natural born hits coming from the mind of Wolfman and his collaborators.
For most of us, it’s getting to be the middle of April. Everything is blooming and getting greener. Our thoughts turn to familiar rites of spring like baseball, taxes, and that new Green Lantern preview.
On Earth-Solicits, of course, it’s July. The greenery is withering in the heat, the tax refund is spent, and half the Reds are sick thanks to being downwind from the Proctor & Gamble plant. Nevertheless, the residents of Earth-Solicits are just bursting at the seams, excited to tell you all that’s been happening in their world …
… but they can’t tell you everything, because then you’d have no reason to visit.
This sort of fan dance is especially pronounced in the current crop of solicitations. When something like a third of DC’s superhero line is taken up with titles like War of the Green Lanterns: Aftermath, Brightest Day Aftermath, and especially the cottage industry which is Flashpoint — titles which jump off from endings readers have yet to see, and/or which go deeper into books yet to begin — it’s hard to get excited, because right now it’s all hype for hype’s sake.
Thankfully, that’s not all there is to the July solicitations, so let’s cruise on….
Many times we superhero fans talk about the “need” to read certain prior issues and/or storylines. Blah blah blah, every issue is someone’s first, etc.
Well, I’m here to tell you … if you’re a fan of Silver Age DC, or of Marv Wolfman and George Pérez’s New Teen Titans, and especially if you’re a fan of NTT‘s Garfield Logan, you need to read the original Doom Patrol. Having just finished Showcase Presents The Doom Patrol Volume 2, which reprints the back half of the DP’s original series, I can say honestly that my eyes have been opened. I never really “got” the appeal of the Doom Patrol before I read this collection — but I get it now.
What’s more, those old stories shed new light not just on what the DP meant to its fans, but on what Wolfman and Pérez were trying to do with Titans.
SPOILERS FOLLOW for some decades-old stories …
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Thinking about the idea of “definitive” runs (touched on last week) brings me back to one of DC’s seminal creative teams. Of course, for fortyish DC fans like me, that team could only be Marv Wolfman and George Pérez, whose New Teen Titans helped DC straddle the line between Silver Age homage and Marvel-style soap opera.
When NTT premiered in the summer of 1980, the DC superhero line looked pretty static: Cary Bates and Curt Swan on Action Comics, Gerry Conway writing Justice League, Irv Novick drawing Batman, Don Heck drawing Flash. Not that these were talentless hacks churning out pulp dreck — far from it — but Marvel had Frank Miller, Chris Claremont, John Byrne, and Wolfman and Pérez themselves. Teen Titans was a twice-cancelled title, yadda yadda yadda, naturally it changed the course of DC’s history.*
It sounds redundant to call Wolfman and Pérez’s four-year collaboration “definitive” — how could it have been otherwise? — so I won’t dwell on that too much. Instead, for now let’s say it was a singular collaboration, with a beginning, middle, and end. Many of the book’s long-term story arcs began as character-based subplots, and many of those were on display in issue #1. Besides the issue’s main plot (Starfire escaping the Gordanians), Robin is snippy to Batman, Wonder Girl reminisces at the site of the abandoned building where she was rescued as an infant, Kid Flash has to be coaxed back into superheroics, and Cyborg hates his half-human existence.