The Flash Archives - Page 4 of 8 - Robot 6 @ Comic Book Resources
Honestly, the post title is a little misleading. Overall, I liked “Trinity War.” It was paced well, the creative teams did a good job wrangling all the characters and (for the most part) keeping them in character, and both story and art were top-notch. Basically, it felt like an old-school Justice League/Justice Society team-up, and for this grizzled veteran of the crossover wars, that’s high praise.
Nevertheless, its conclusion frustrates me, and I can’t talk about it without a massive spoiler warning. About the only thing I can say without reservation is that this week’s Justice League #23 featured the conclusion of “Trinity War.” To reveal much more about it would spoil the last page of the issue.
This is a terribly ironic situation, because DC Comics has made no secret about the setup for the sequel miniseries, the seven-issue Forever Evil. However, in the interests of preserving at least a nominal sense of fair play, I can’t really talk about that either. It all makes me feel very cynical, just when I was feeling good.
Anyway, if you’ve read the issue — or if you don’t mind knowing absolutely everything that happens, including the usual history lessons and ill-informed speculation — let’s talk.
In an impromptu interview at The Walking Dead‘s 10th-anniversary party held during Comic-Con International, CBR’s Karl Keily spoke briefly with Grant Morrison about the one superhero he’d still like to tackle, the status of his Rogue Trooper screenplay, and whether fans should expect another MorrisonCon.
Karl Keily: You just wrapped up your epic, decade-long, redefining Batman run. Are there any other iconic characters you’d like to revamp next?
Grant Morrison: The Flash is the only one left that I would still do. If I’m gonna do the Flash, I want to do it as a science-fiction story like The Incredible Shrinking Man or Stephen King’s Thinner, or The Fly, where you basically take a scientist and then subject him to a very simple equation. For Barry Allen, he’d just be getting faster and faster and faster — and what would that mean? Because somewhere up there is the speed of light, and when you hit the speed of light, basically all time stops and it’s the end. That’s the limit. So we’re watching this guy progress through it, faster and faster. By the end of Act 1, his clothes are burning off every time he moves, so he has to build himself a suit, and then he paints the suit red like a Ferrari and is just speeding around like he’s on coke all the time! I want to do that as a sci-fi story, but out of it comes the familiar image of the Flash. I think that’d be totally different, just taking it from a different angle.
Animation designer Andry Rajoelina has created an uplifting, and occasionally funny, series of prints featuring the families of superheroes. That’s “family” as in Superman Family, not as in Jonathan, Martha and Clark Kent. The first set was focused on DC, but he’s now done a second group with Marvel characters.
Some of the characters, but not all, are biologically related, and that’s part of what makes the series so heart-warming. One of the nicest, most reassuring messages of the X-Men was always that people without families could form their own. (I’ve always loved the idea of the X-Men as a family much more than the idea of them as a school.) Rajoelina’s two series highlight that. They focus on adult/child relationships (the Fantastic Four leaves out Johnny Storm and Ben Grimm, for example), but Rajoelina is able to figure out a workaround for Green Lantern, even if it’s a little sad in a humorous way.
Prints of the Justice Families series can be purchased at the Geek Art Store.
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]
Creators | Pickles creator Brian Crane, who was recently named Outstanding Cartoonist of the Year by the National Cartoonist Society, talks about how he was ready to give up on his dream of being a cartoonist after his pitches were rejected by three syndicates, but his wife wanted him to keep going: “To prove her wrong, I sent it to The Washington Post Writers Group. She proved to be right. Since then, I’ve learned: She’s almost never wrong.” [Comic Riffs]
Comics | Chicago City Council recently passed an ordinance, which takes effect in July, regarding wage theft, and Interfaith Worker Justice, a Chicago organization, has put together a 32-page comic explaining workers’ legal rights and what recourse they have if their employers illegally withhold their wages. [Crain’s Chicago Business]
Yale Stewart, creator of the popular “Justice-League-as-kids” fan webcomic JL8, has created some wallpaper that he’s selling to benefit victims of Monday’s bombing at the Boston Marathon. There are three versions: the one above, a reversed image with the Flash running toward the left, and a left-running one sized especially for Facebook covers. A $1 donation (or more, if you like) gets you all three in a zipped file. Stewart will divide all proceeds equally between Boston Children’s Hospital and Red Cross of Boston.
Welcome to “Cheat Sheet,” ROBOT 6′s guide to the week ahead. After an almost-uninterrupted string of U.S. conventions, from Emerald City Comicon and Fabletown & Beyond to WonderCon and MoCCA Arts Fest, eyes turn to Europe this weekend for the Torino Comics festival.
Meanwhile, our contributors select their picks for the best comics going on sale Wednesday, including Batman: Li’l Gotham #1, Relish and The Flash Chronicles, Vol. 4.
As part of a career in superhero comics that reached back to their beginnings, Carmine Infantino was one of the pillars of the Silver Age, and not just because he was a big part of its formative moment. His sleek redesign of the Flash became the avatar for DC Comics’ resurgent superhero line, and his unique style helped define not just the Scarlet Speedster’s world, but eventually all of the company’s titles.
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.
Happy Easter and welcome once again to What Are You Reading?, where we review the stuff we’ve been checking out lately. Today we are joined by Miranda Mercury and Voltron writer Brandon Thomas, whose collection of original art and other stuff we featured in Shelf Porn yesterday.
To see what Brandon and the Robot 6 crew have been reading, click below.
Thirty-six questions. Six answers. One random number generator. Welcome to Robot Roulette, where creators roll the virtual dice and answer our questions about their lives, careers, interests and more.
Trying his luck today is comic writer, guest lecturer and sometimes keynote speaker Mark Waid. He’s the man behind Thrillbent.com and the writer of such comics as Indestructible Hulk, Daredevil, Insufferable, Steed and Mrs. Peel, Rocketeer: Cargo of Doom, Kingdom Come, The Flash, Captain America, Legion of Superheroes, Amazing Spider-Man, Irredeemable, Fantastic Four and many more.
Now let’s get to it …
Occasionally I talk about how perfunctory the monthly solicitation ritual can be … but not so for April!
On the same day the solicitations were released, Comic Book Resources launched its new “B&B” column, featuring editors Bob Harras and Bobbie Chase, and chock-full o’ factoids about various books. Moreover, the solicits were themselves packed with new story arcs, new creative teams, and an even more heightened feeling of coyness.
A big part of this coyness comes from April’s cover gimmick. Actually, we readers can only see half of the gimmick — because while every New 52 book will sport a fold-out cover, the solicits only show the left side. (Makes me wish there were a retailers-only edition of Previews, as this is just the kind of thing which surely irritates them.) To add to the anticipation, every New 52 solicitation ends with a question. Accordingly, this month more than usual, the solicits are structured precisely to set up dire consequences and leave them unresolved. Suspenseful!
Ah, but that sort of thing only encourages me. Let’s dive in, shall we?
Continue Reading »
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a splurge item.
If I had $15, I’d start the new year off right with Invincible #99 (Image, $2.99). The build-up (or teardown?) to Issue 100 has been great, and honestly I never quite trusted Dinosaurus to begin with so I’m glad to see this finally boil over. I’m all ears – and eyes – for this and the next issue. Next up I’d get another Image joint, Prophet #32 (Image, $3.99). Kudos to Brandon Graham for being confident in himself enough – and choosy enough in his collaborators – that he’s stepping back and letting artist Simon Roy write and draw a one-off issue. And the story of a Prophet clone gone native sounds mighty enticing. Third in this week’s haul would be Punk Rock Jesus #6 (DC/Vertigo, $2.99). I feel a slight bit of remorse at how fast this series has gone – it seemed like a whole lot of introduction, a brief second act and now we’re being pushed into the finale. Still, one of the best series of 2012 (with this finale sneaking out two days after 2012). Finally, I’d get James Stokoe’s Godzilla: Half-Century War #4 (IDW, $3.99). I’ve become big fans of Ota and Kentaro here, and Stokoe has really populated this world with all kinds of special and grotesque. Excited to see what comes up here!
If I had $30, I’d continue my mad dash through my local comic shop with two Marvel picks: All New X-Men #5 (Marvel, $3.99) and New Avengers #1 (Marvel, $3.99). All-New X-Men has been surprisingly refreshing for me; I always love Stuart Immonen’s, but what’s startled me is how fresh and unencumbered Brian Bendis seems here with the writing. On the New Avengers #1 tip, I liked Hickman’s other Avengers work so far but I’m even more interested in how artist Steve Epting draws this unique cast. Plus, I loved Epting’s first run on Avengers – leather jackets, people! Next up I’d return to Image and get Glory #31 (Image, $3.99). This is going to be a great collection when the whole thing is done, but right now we’re knee-deep in the series itself as Glory faces off with her sister Silverfall. Hey Rob Liefeld – this Silverfall character could be something special for more after this series ends! And finally, I’d get Manhattan Projects #8 (Image, $3.50) and anxiously await the big reveal of the secret powerbrokers in the MP universe. I can’t wait for Hickman to blow my mind.
If I could splurge, I’d buy the back-to-back first and second volume of Chimpanzee Complex (#13.95 each, Cinebook). Coming to America with no press at all, I found this in Previews a while back and have been excited by its potential: a Franco-Belgian comic that reveals the astronauts who returned from the moon in 1969 were doppelgangers, and the fallout from that discovery. 2010 meets Orbiter. Bring it on.
No small amount of drama accompanies the March solicitations, thanks to Gail Simone’s unexpected dismissal from Batgirl. There’s also turnover at Swamp Thing and Birds of Prey, potential clues to the end of “Death of the Family,” and the usual I-remember-this! commentary on collections.
FOLLOW THE BOUNCING BALL
The big stories are the departures of Simone from Batgirl and Scott Snyder and Yanick Paquette from Swamp Thing. It seems particularly odd in Simone’s case because it leaves the fate of Batgirl’s current antagonist in the hands of a different writer. Maybe that means Simone’s original plans for him didn’t go over particularly well with DC, or maybe it’s something totally unrelated. Either way, looks like it’ll be at least another month (in January’s Issue 16, her last issue) before we learn anything significant. At any rate, Ray Fawkes writes two issues of Batgirl starting with Issue 18.
As of March, Jim Zubkavich is your new Birds of Prey writer, Andy Kubert draws the lead story in Batman #18, and Trevor McCarthy draws Batwoman #18. Also, in a move that threatens to have me try out Phantom Stranger, the very fine J.M. DeMatteis comes aboard as co-writer with Issue # (guest-drawn by the equally fine Gene Ha and Zander Cannon).
The first collected volume of the New 52 era of The Flash has hit shelves, and on its blog, DC Comics is showcasing rough layouts by artist and co-writer Francis Manapul. And they’re gorgeous.
In comic stores now (and in bookstores later this month), The Flash, Vol. 1: Move Forward collects the first eight issues of the run by Manapul and co-writer/colorist Brian Buccellato and doesn’t spare on the the extra features, with an inside look at layouts and sketches done by Manapul — some of which are being rolled out on DC’s blog (and below).
In the new wave of creators and runs from the New 52 relaunch, Manapul’s work on The Flash has been a standout for both its art and writing. As most of DC’s marketing is geared toward writers and story developments, it’s a welcome change to see the publisher leaning so heavily on the artistic component.
After years in the industry, Manapul seemed to come of age at DC, first with his work on the Superboy story inside Adventure Comics with writer Geoff Johns, then on the Flash title with Johns, and now on the New 52 Flash title. Much in the way Scott Snyder has become one of DC’s top writers, Manapul is emerging as one of the publisher’s leading artists.
Getting back to the subject of these excellent layouts, DC promises to post more on its blog later this week.