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The talk on the New52 reminded me one of the very few things I liked on it was the ATTEMPT to connect so much more of the DC Universe across one another in organic ways.

Granted, that "attempt" crashed and burned horrifically. ....very horrifically. But that brief honeymoon period of wondering what overarching plot lines would play out like, or figuring out the universe's "new" history was - when everything was fresh and anything could happen - before realizing how shit it all was was fun.
 
The talk on the New52 reminded me one of the very few things I liked on it was the ATTEMPT to connect so much more of the DC Universe across one another in organic ways.

Granted, that "attempt" crashed and burned horrifically. ....very horrifically. But that brief honeymoon period of wondering what overarching plot lines would play out like, or figuring out the universe's "new" history was - when everything was fresh and anything could happen - before realizing how shit it all was was fun.
The New 52's biggest issue is that there was no plan. Writers from that time admitted the whole thing was thrown together last minute when Didio realized he could do the reboot as part of Flashpoint.

For anyone not aware, the reason Final Crisis was called that was because Didio's big brained idea was that it would be the final event comic of the Post-Crisis continuity and lead to a huge reboot. After the problems with Countdown's story, which Morrison ignored completely when he did the actual crossover, the idea was scrapped and instead we got the Batman Reborn era with Dick as Batman, etc. But Didio still wanted to do it, so around March/April depending on who you were, he told a bunch of writers to start working on a new universe where superheroes have only been around for five years, and the first book, Justice League by Geoff Johns and Jim Lee, launched August 31st.

A quick business departure, the turnaround for Diamond is four months from when you first show the book to them. You send them the ad you want in the catalogue, they print it in next month's issue, after a month of order they give those numbers to the publisher, who then orders the number from the printers, and then they finally show up in the store roughly four months after Diamond first got the ad for the book. Also, DC and Marvel require at least a two issue buffer for completed art. Meaning at best, the writers and editors had a month to work out what the book was going to be about, unless they were given an outline by editorial which many were, others were given a vague idea and had to come up with something around that.

The other issue was that it was confusing what was canon and what wasn't. Johns and Morrison had pull, so their Batman, Flash and Green Lantern works were still canon, but Morrison's Batman stuff counted on a Batman who had been around for 15 years and John's work was based on Silver Age continuity. Later they tried to fix things by saying Bruce has been Batman for ten years, but they also tried to claim Tim Drake was never Robin, even altering captions and dialogue that identified him as a previous Robin. And then in came the crossovers that screwed things up even harder before the thing was a year old.

The whole venture was a mess, which is a shame because its stated goal worked. Those first few months, DC sold gangbusters and left Marvel in the dust. Comics stores were re-invigorated by new customers who were interested in this jumping on point for them. It could have been great, if they'd just gotten everyone together a year beforehand, worked out the rules, and then planned accordingly.
 
The other issue was that it was confusing what was canon and what wasn't [...] And then in came the crossovers that screwed things up even harder before the thing was a year old.
Correct me if I'm wrong, but doesn't DC have that issue every time they do a big crisis event where the cointinuity never gets fully reset and they end up with the exact same issues they were trying to fix?
 
The other issue was that it was confusing what was canon and what wasn't. Johns and Morrison had pull, so their Batman, Flash and Green Lantern works were still canon, but Morrison's Batman stuff counted on a Batman who had been around for 15 years and John's work was based on Silver Age continuity. Later they tried to fix things by saying Bruce has been Batman for ten years, but they also tried to claim Tim Drake was never Robin, even altering captions and dialogue that identified him as a previous Robin. And then in came the crossovers that screwed things up even harder before the thing was a year old.
This has always been DC's problem with reboots -- they never fully commit. So you'll have Character A whose old continuity is intact but Character B's history has been completely reset, however stories from Character A's continuity rely on older stories from Character B's previous history, so they try to retrofit those stories back into continuity, which then has a domino effect on other characters and you eventually end up with DC's absolute mess of a universe.

What they should do is give the creative staffs a year's notice that they're going to reset everything, giving the writers ample opportunity to wrap up plots and give the characters proper send offs while plotting out the new universe, and then fully and completely reset the entire universe. But DC's too incompetent for that sort of planning.
 
I really enjoyed both Scout and Grimjack by Tim Truman. Both were great characters in cool settings, who I would love to see on the Silver Screen. But, only if the stupid current year DEI obsession ever dies down.
 
Correct me if I'm wrong, but doesn't DC have that issue every time they do a big crisis event where the cointinuity never gets fully reset and they end up with the exact same issues they were trying to fix?

Well, full rebooting is stupid when you have stuff going well and hard when you realize that comic book companies historically have been fiefdoms.

COIE Wolfman wanted a reboot. But people at DC who understood fans better sabotaged that. From there, DC didn't reboot again until 2011. Zero Hour takes place 8 years after COIE and is a soft face lift continuity wise. I can't think of an actual, universe wide 'crisis' until 2005 IC. That's near 20 years in between. In fact, I think generally, between the time of Dan DiDio's rise to power and CIOE, I think DC had far better crossovers than Marvel or other competitors.

Johns, Didio, and the gaggle of fuckwits started to seize control around the mid aughts. They got a win with GL Rebirth because, Mars GL was, well I know it has its fans but come on. Emerald Twilight is bullshit.

But that win, undoing one of the worst series of character assassinations and 90s excess became an empowering tool for Didio and Geoff to break every taboo. For almost twenty years, there was 1 DC continuity, then they introduced the Multiverse back....and fucked it up. For more than twenty years, Wally West was a testament to serialized storytelling, with death having some permenence. Then Geoff Johns fucked it up. Finally Flashpoint came.

DC isn't the only company with continuity issues. Valiant, Image, Marvel. They all do this shit. The problem with DC comics was Dan DiDio choosing to gamble everything on his vision and current, as of 2011 creative team.
 
Anyone read this?

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Recently I rediscovered the Italian Disney production. I've read a few classics during Christmas time, then I tried the new series that, after being published on the weekly magazine "Topolino" (Mickey) they have been collected into several omnibus collections.

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The cover is misleading, since the main characters aren't Mickey and Pluto, but Mickey's nephews, Morty and Ferdie. The story shares a few similarities with Stranger Things, just without the eldritch horrors. In this adventure Morty, Ferdie and their friends try to protect the planet from an alien invasion while at the same time they prepare for the concert they'll have to hold during the school festival. Story and art by Claudio Sciarrone.

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A very funny parody clearly inspired by the movie Bram Stoker's Dracula where Jonathan Ratker (Mickey) is imprisoned in Count Dracula's (Phantom Blot) castle and is forced fed beets while the count arrives in London and starts to use his evil influence on Minnina Murray's (Minnie) friend Claire Lucy Westenra (Clarabelle Cow). Special mention for Goofy who in this story plays Van Helsing. Story by Bruno Enna, (beautiful) art by Fabio Celoni, colors by Mirka Andolfo.

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Another literary parody, this time of Jane Austen's most famous novel, Pride and Prejudice tells the story of Lizzy Pennet's (Daisy Duck) blooming romance with Donald Duckcy, passing through misunderstandings, boring scholars, nosy aunts, uncles whose goal in life is finding treasures and... a cooking contest? Fethry Duck as Bingpap (Bingley) is an absolute delight, and Gladstone Gander is a delightful Wickham (of course). Story by Teresa Radice and art by Stefano Turconi.

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When Paperinik (Duck Avenger) made his first appearence on Topolino magazine in 1969, he declared himself the heir of Fantomius, famous gentleman thief who terrorized Duckburg with his audacious thefts during the first two decades of the 20th century. In the last years a lot of stories about Fantomius (whose real identity is Lord John Lamont Quackett) were published, going deep into his personal story and his past. The episodes are written/drawn by various writers and artists.
 
Was that a New 52 thing?
No, Identity Crisis, from around 2005. The first time (that I know of) they made a big deal about bringing a non-comics writer to write them an event. He (Brad Meltzer) was a crime thriller writer, so they had him write a crime thriller with superheroes, and it was not just bad, but had terrible repercussions.
 
Its gone down in the annals of comic book history as one of the worst events in comic book history, alongside New 52, Ultimatum, Civil War II, Amazons Attack, and The Crossing.
 
No, Identity Crisis, from around 2005. The first time (that I know of) they made a big deal about bringing a non-comics writer to write them an event. He (Brad Meltzer) was a crime thriller writer, so they had him write a crime thriller with superheroes, and it was not just bad, but had terrible repercussions.

Its gone down in the annals of comic book history as one of the worst events in comic book history, alongside New 52, Ultimatum, Civil War II, Amazons Attack, and The Crossing.
Oh, that. I actually read it but just didn't connect the conversation taking place with it - it's been a long time.

It had some problems but I recall liking parts of it. Or if not liking, finding it interesting. It did something different.

When you talked about the "rape of Sue Dibney" I was tempted to make a crack about maybe you meaning what they turned her character into in the Flash TV series. But I had more taste.
 
No, Identity Crisis, from around 2005. The first time (that I know of) they made a big deal about bringing a non-comics writer to write them an event. He (Brad Meltzer) was a crime thriller writer, so they had him write a crime thriller with superheroes, and it was not just bad, but had terrible repercussions.
Didn't Marvel make a big deal about Kevin Smith and Joss Whedon coming to work for them? I remember it being a big deal that Smith was doing the relaunch for Daredevil but I could be mistaken.

As for IDC, I wonder how much of it was editorial requesting he put that shit in, considering that they did have plans for Infinite Crisis. There were all those books and storylines leading up to IC and a big theme was the Justice League no longer trusting each other because of everything that was being revealed. Also, was it ever revealed that someone else was supposed to be the killer in IDC and it was changed at the last minute? Because that would explain a lot.
 
Didn't Marvel make a big deal about Kevin Smith and Joss Whedon coming to work for them?
That's true, but by the time they started on Marvel, both had already done comics spun off of their movies/TV shows; Smith with Jay and Silent Bob stuff, Wheddon with Buffy stuff.

IC was Meltzer's first comic work, and the first "serious writer" I remember coming into comics. But I'm sure there were others before. Gaiman, for one, was a writer for music magazines before Sandman, but he didn't become notorious until he worked in comics. Straczynski surely is another.

When you talked about the "rape of Sue Dibney" I was tempted to make a crack about maybe you meaning what they turned her character into in the Flash TV series. But I had more taste.
Oh god what did they do
 
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About identity Crisis, I never cared much for it, I dont think it was bad and neither care about the rape of a character that I dont know much about it. I dont know if all this shock that people have is remains of American puritanism. You guys can have people killing each other and shit but anything sexual is too much.

I felt the same with the last star wars movie, when people were shocked that Palpatine had sex. Not even considering his appearance, why wouldnt he able to get a sexual partner even if he had to force himself? It was quite weird to see people not get simple stuff like that.

For a "villain" to do stuff like that is quite realistic, but at the same time, in normal media you wouldnt get much of it, the same goes for torture, amputation, and so on (that kingpin comic where he was raped and then did the same with the rapist wife or something, was a MAX comic, wasn't it?)
 
Just doing another read through of Punisher MAX: The Platoon. For me, this is and will be peak Punisher. None of the new garbage interests me. Though an arc of Punisher going Rambo in Vietnam after the war and rescuing POWs would have been nice.
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Oh god what did they do
Well I'm only partially familiar with the comics character and part of that is from Identity Crisis. So maybe it's more accurate than I think though I'd be surprised. They introduced Ralph Dibney (one of the more likeable characters in fact but I think he got Me Too'd or made an off-colour remark or something and got booted from the show) and presumably Sue Dearbon who he was being light-paired with would have become Sue Dibney at some point but it never happened due to said booting. Her character was a super-wealthy business woman who was one of the most Mary Sues of all Mary Sues. No powers but a Black Widow level spy, brilliant martial artist, financial wiz and generally most capable character in every scene somehow. Had a whole "villain with noble motivation" arc for a while then became a recurring support character. Actress looked great in a catsuit though, I'll give them that.
 
That's true, but by the time they started on Marvel, both had already done comics spun off of their movies/TV shows; Smith with Jay and Silent Bob stuff, Wheddon with Buffy stuff.

IC was Meltzer's first comic work, and the first "serious writer" I remember coming into comics. But I'm sure there were others before. Gaiman, for one, was a writer for music magazines before Sandman, but he didn't become notorious until he worked in comics. Straczynski surely is another.


Oh god what did they do
  • Jean Loring, the wife of Ray Palmer, feels lonely and thinks that if she were to cause an incident in their old JLA group that got everyone scared for their non-caped loved ones, it'd lead Ray into being more intimate again. This is revealed.
  • So, along the way, she gets one of the Atom suits/belts and goes into Sue Dibny's brain, unintentionally killing her. Don't remember if it was a stroke or by Sue falling onto something.
  • The mystery is painted as mysterious and even Batman and all the knowledge of 50 different veteran detectives seem to figure out the locked room mystery.
  • Anyways there turn out to be signs of some kinda heat/light based power used on her due to the fact that Sue's corpse was burned to a crisp.
  • Turns out it's Dr. Light, The old JLA villain who's become a joke.
  • Turns out that during the Satellite era of the JLA, there was a group of villains that freaky friday'd with the JLA. IIRC. Anyways, to protect the heroes, Zatanna mindwiped them.
  • Anyways it also turns out that Dr. Light raped Sue Dibny. He got mindwiped, but there was a mistake and Zatanna kinda rendered him retarded. Anyways, this is when he started becoming the punching bag for kid heroes.
  • Z also "altered" Batman's memories because he found this appalling. This event's also allegedly when Catwoman started being more of an anti-hero afterwards. If I remember correctly, Barry and J'onn weren't present.
  • Identity Crisis also killed off Firestorm, who was the youngest member of the JLA during the Satellite era. It's kinda sad that they just unceremoniously axed him off, but he was kinda irrelevant at this time.
  • Jean Loring got caught and thrown into fucking Arkham. She later became Eclipso.
    • Ray Palmer, the Atom, really wasn't doing well for the succeeding decade. He shrunk himself into infinity and was found in another universe during Countdown.
    • By the way, when Ray returns to the DCU, his best buddy Carter Hall (Hawkman) gets Black Lantern'd.
    • Eclipso Jean Loring was kinda responsible for the deaths of the DC magic scene during Infinite Crisis. She was still pining for Ray, but did really creepy shit like brainwash and manipulate the Spectre.
Honestly, I can respect the idea of Identity Crisis. I just wish they didn't fuck with Ralph and Sue. They were always some of the more lovable heroes in DC, even if they were just a footnote of the JLA and the happier Silver Age.

One hard-hitting bit reaction that Geoff Johns wrote for a returned Barry Allen was at the start of Blackest Night, when Barry asks Hal to show him everyone who died. Barry looks at the list and sees Ronnie and J'onn. Then he sees Ralph and Sue.


Then, at the end of Blackest Night, he runs around looking for the resurrected characters, thinking Ralph and Sue had come back.

Like, fuck me. Johns may be a more "tell" than "show" writer, but the man got really let showed how much Barry missed his friends without making a big diatribe out of it. No Bendis style bullshit. No big Claremont soap opera. Just a man out of time, missing some loved ones.
 
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