DC Round-Up Comics Released 8/10/16

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How many Batman books is too many Batman books? Depending on who you ask there ain’t no such thing! We try to stay up on what’s going on at DC, but we can’t always dig deep into every issue. The solution? Our weekly round-up of titles coming out of DC Comics. Today, we’re discussing Detective Comics 938, Hal Jordan and The Green Lantern Corps 2, Superwoman 1 and Wonder Woman 4. Also, fear not, we are DEFINITELY discussing All-Star Batman 1 on Tuesday, so come back for that.

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Detective Comics 938

Detective Comics 938Michael: Can an engaging character dynamics make up for a so-so plot? James Tynion IV has assembled a great cast of characters and there’s plenty to love about this title for that team alone. As Detective Comics’ first arc approaches its conclusion however, it’s clear that the threat they’re facing isn’t as interesting as the team itself.

Detective Comics 938 peels back the curtain a bit and lets us get a glimpse at why Jacob Kane has decided to become a 2-dimensional army bad guy (As you can see, I’m still not OK with that concept). Kane tries to justify “The Colony” in very specific Batman terms: a terrible thing happened to him (and Kate) and he’s doing what he can to ensure it never happens to anyone else. Despite his good intentions however, the issue still ends with him sending off a swarm of drones to kill a significant number of civilians along with “The League of Shadows.”

I do love the interaction among the team however. You can tell Tynion has a deep love for these characters, allowing for each member of their team to have a moment to shine in this issue. Gotta love New 52 costume bashing:

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I love me some Eddy Barrows but Alvaro Martinez has been growing on me with every subsequent issue of Detective Comics. All of the character moments I mentioned are heightened and underlined by Martinez. You feel Cassandra Cain’s triumph after she takes down a mob of soldiers and Kane’s shame, as he’s covered in shadow, contemplating what he’s become.

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Hal Jordan and the Green Lantern Corps 2

Hal Jordan and the Green Lantern Corps 2Patrick: I like to think I’m not too pedantic about most of the comic books I read – especially when it comes to continuity. I’m reading the issue I’m reading, and 90% of the time, I’m content to leave it at that. But there’s something about Green Lantern that makes me pay a little extra attention to continuity. I owe that mostly to Geoff Johns’ blockbuster run on Green Lantern, which is where I learned to follow a series, first in trades and later in floppies. I’ve drifted in and out of following the character since Johns a couple years ago, but it’s sort of alarming how quickly I can snap back in to an obsessive little groove, especially when the storytelling is as good as it is in Hal Jordan and the Green Lantern Corps.

Every nod to the rich history of these characters tickles me just right. I was a little unnerved to see Maash, the three-faced Sinestro Corpsmen, in the previous issue because I wasn’t convinced that Robert Venditti was paying attention to the personalities of the individual faces. (Yes, that’s how deep the obsession goes.) The top face is a more-or-less rational dude, while the two below him are sociopaths. Venditti actually has Hal notice this personality difference in this issue and directs his interrogation at the one sane man in the crazy-head. But Venditti’s history-tapping is a lot more meaningful than that admittedly superficial detail. I’ll confess to not reading the issues that lead Soranik Natu to embracing her father’s evil yellow power, but Sinestro’s ulra-heel turn in this issue provides perfect context for their on-going relationship. It’s one of those “but here’s what was really going on” speeches that also just serves to catch me up on what they’ve been up to in my absence.

Rafa Sandoval’s pencils for this issue are fascinating. He’s got such a gift for staging and paneling that nearly every page has an example of the layouts suggesting the movement of the characters on the page. Part of this is achieved by Sandoval so frequently telling his story from a proscenium perspective, eschewing more cinematic angles in favor of clarity. I almost feel like the detail of his drawings are being over articulated by inker Jordi Tarragona and colorist Tomeu Morey. It jumped out to me during this interrogation scene, which is a persistent two-shot, and which leans in to the simplicity of the staging by never moving the camera.

Maash and Hal Jordan

The action here is so clear from the very basic coloring of these characters, and from their distinctive profiles, that all the extra shading, contouring and glowing only serve to distract from Sandoval’s great work. I might be asking for a different kind of book entirely, but it’d be cool to see Sandoval’s work colored like David Aja’s Hawkeye – flat and graphic. More than most Rebirth series I’m reading, this series seems excited to embrace the visual vocabulary of comics rather than that of film, and I’d like to see a production team that honors that.

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Superwoman 1

Superwoman 1Ryan M.: In an improv scene, when your scene partner explicitly tells you not to do something, the expectation is that you will soon defy them to humorous result. When Lana Lang begs Lois Lane not to leave her before the climax of Superwoman 1, I got a sinking feeling. This was a set up not to a punchline, but to pain. For much of this premiere issue, Phil Jimenez seems to be setting up a buddy story of a pair of Superwomen. We have Lois, headstrong and determined to use her powers to pick up the mantle left by a fallen Clark, and Lana, more reticent and sensitive but also drawn to doing good. Once it’s over, it’s clear that Jimenez wasn’t building that story at all. Instead, this is a Lana Lang origin. How she got her powers, her first call to action, and the isolation that accompanies her new position.

There are a few twists in the story, but none of them feel cheap or unearned. When I re-read the issue knowing all of the turns, each character moment and bit of dialogue still works. Jimenez executes this by giving us all the things that we may need in terms of presenting Lana as the hero of a new Super-story. He presents her dynamic at work, her values, her personal losses, even a fairly combative interview with Lex Luthor. Lois’ presence is almost a distraction from Lana’s arc, but also offers a potential preview of what the future may be for Lana as Superwoman. First issues have to balance a lot of world-building with giving a story ongoing momentum. Jimenez does an excellent job in this issue of managing those duties.

Every page of the issue is packed tight with dialogue and action. The plot’s nearly frenetic pace dovetails with Lana’s own anxiety issues and the art reflects that feeling of everything happening at once. It’s kind of the sequential art version of a Bourne movie, quick cuts from moment to moment. The panel shows movement by moving the frame rather than the movement of objects within the frame. When we get our first hero shot of Lana, she has to bust through a cluttered page. Even without her own splash page, it’s an exciting moment and a fitting introduction to a new favorite.

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Wonder Woman 4

Wonder Woman 4Mark: Rather than a radical reinvention of the Wonder Woman origin myth, two issues into their “YEAR ONE” saga Greg Rucka and Nicola Scott continue to offer a classic take with a few refinements along the way.

As with every issue of Wonder Woman so far, the biggest strength of Wonder Woman 4 is the humanity of its characters. Themyscira is supposed to be a utopia, but in most tellings it’s filled with as much political intrigue and personal jealousy as the World of Man. Here, Themyscira is not free of political discussion and disagreement, but it is a true debate and not an argument. In a lesser title, Philippus would make an easy villain. These small choices by Rucka add up. Despite her concern for her daughter, Hippolyta doesn’t forbid Diana from participating in the tournament. Instead, Hippolyta lets Diana know she will be proud of her no matter what the outcome. Even Steve Trevor, usually portrayed with as much personality as the GI Joe doll he’s modeled after, is given a moving moment where he mourns the loss of his fellow soldiers.

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Yes, the story continues to be meted out at a glacial pace, but Wonder Woman remains the crown jewel of Rebirth.

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The conversation doesn’t stop there, because you certainly read something that we didn’t. What do you wanna talk about from this week?

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16 comments on “DC Round-Up Comics Released 8/10/16

  1. Wonder Woman: My favorite issue of this run, easy. Scott’s art just radiates warmth, and that’s such a key quality to have when telling a story on Themyscara. Diana’s compassion for Steve, the love between Diana and Hippolyta and even Hippolyta and Phillipus, their affection just jumps up off the page.

    Also: that shot of Diana holding up her bracelets, ready to deflect bullets? BAD. ASS.

    HJatGLC: I dunno, Patrick; I’d have to take another look at how the colors effect the actual storytelling, but I love the way the colors work on the constructs. These are some damn fine looking constructs.

    Detective Comics: “Send the muscle” *elevator opens with just Orphan inside* I got CHILLS

    Superwoman: I doubt this is the ending for Lois, but yeah, it’s clear Lana is the main character in this one. I really like the dynamic for this one, and yeah, this is a DENSE comic, but not to the point of being overstuffed or unreadable. You definitely get your money’s worth with this one.

    • Maybe I shouldn’t have lumped in the glowing of the constructs with everything else. I think it makes sense to give the constructs a quality that sets them apart from the physical objects on the page. For me, it’s really that the characters are overshaded and overcontoured (and sometimes the backgrounds are too busy. I have yet to see a Green Lantern book that really had a distinctive, graphic visual style to it, and I feel like this series is butting right up against that idea, but the production team isn’t quite meeting them on it.

      INCIDENTALLY, I’d love to be wrong about there not being a graphic Green Lantern series. If anyone has some counter examples, I’D LOVE TO READ THEM. The closest thing I can think of is that Flash Annual that Manapul drew with Barry and Hal from like 4 years ago.

    • I feel a little bit like I did last time Wonder Woman got rebooted (New 52). I feel, “Wow, this is great.” I don’t mind the slower pace when there’s a new comic coming out every other week. It ended up not working for me in New 52, but I’m fully on board. I think I like the Cheetah story a little more so far (art and story): I don’t really know Cheetah but I’m interested in the defeating the foe of my fallen-friend story even though my fallen friend will be a villain in the end. It feels like a classic tragedy.

      Detective: If this whole thing ends up being Batman all, “I knew you could do it, I had to put you here so you could prove it to yourself,” I’ll be kind of shitty. But it’s moving fast enough even though I don’t feel like I really know these characters that it’s keeping me entertained.

  2. I find in funny that Detective Comics is mocking Red Robin’s old costume when I think that his new one is worse. Since the New 52, DC have really struggled to make a good Robin costume. Damian’s looks great, and Helena Wayne’s costume is honest to god amazing, but whenever the New 52 went into flashback mode to show Dick Grayson, their wish to make the Robin costume armoured is making the Robins look terrible. I am generally pro textured costumes in comics, but it is very clear now that Robin costume do not look good when designed to look like body armour. I mean, what the hell is that thing between the chest piece and the shoulderpads supposed to be? Damian Wayne’s suit, where the Robin colour are fabric over his body armour, looks so much better than Tim Drake seemingly fighting in a breastplate (also, the new Red Robin symbol is the ugliest thing ever, just to make things worse). Making a Robin costume design should not be this hard. Ever since Tim Drake first appeared, we have had so many actually good Robin designs. Yet since 2011, all DC want to do is put Robins in breastplates.

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    Blue Beetle: But onto the real stuff. In this week’s reread, I devoured John Rogers’ Blue Beetle. John Rogers is a real hidden talent (Catwoman screenplay aside). Leverage is a truly fantastic heist show, while his Dungeons and Dragons comic is quite possible the best high fantasy adventure comic that was ever on the market. And then there was Blue Beetle.

    There is so much to say, because it does so much so right. This was Ms Marvel before there was Ms Marvel, and in fact was unlucky enough to miss today’s more accepting market for a book like that. Which is a shame, as this book did so much right.

    I mean, the first issue does a truly amazing job at creating the supporting cast of Jamie’s world. No only do we get an introduction to Jamie’s family and friends, we get strong moments of humanity from all of them and even important backstory on Brenda. And that’s before Infinite Crisis’ ‘One Year Later’ thing is used to then shake everything up, giving Jamie’s supporting cast instant history. And Blue Beetle just keeps building from there. The cast becomes entertaining and an important heart of the story, especially due to two important points which even today are still innovative. Firstly, Everyone knows Jamie is the Blue Beetle. I’ve discussed before how Marvel have basically thrown away the concept of a Secret Identity, but they only have for the ‘career superheroes’. People like Ms Marvel or Miles Morales still have them. Meanwhile, Blue Beetle uses Jamie’s family’s knowledge both for drama (with Jamie’s parents being a fantastic pair of mentors) and comedy. And each new addition to the cast makes things better (I want to talk about Peacemaker more later, but I love his characterisation as the serious, professional guy that takes advantage of the fact that the DC Universe is a silly, silly place).
    But secondly, the supporting cast do something. Ms Marvel has a great supporting cast, but they are often at the sides (look at how little time Zoe gets). But Jamie’s cast is just as involved in Jamie’s superheroics as Jamie is. All of them get involved in ways no one but Bruno gets to in Ms Marvel, and Bruno’s stuff is nothing compared to Brenda and Paco’s heroics, who actually find themselves in the middle of things, fighting alongside the Teen Titans and stuff.

    But the villains are also done so well. Characters like La Dama are quickly sketched into complex characters, and remain so. But the real success is the Reach. The Reach have got to be the greatest new villain of the decade. They are a great twist on the Alien Invasion concept, but Rogers doesn’t let their intelligent subversion also avoid turning them into one dimensional ‘too clever for you’. But what Rogers does create is a villain so good, it is unsurprising that Young Justice used them as the centrepiece of the second season. Because the Reach catapulted themselves to the top of DC Cosmic totem pole.

    And then there is the climax, where literally everything pays off. EVERYTHING. In a giant, action filled climax filled with clever, complex plans. It is a genius piece of plotting, and yet it manages to do this without feeling like you need to remember a hundred different plotlines. In fact, events are so exciting and fun that you don’t need to keep track of everything obsessively. A lesson Rogers learned from Leverage, I assume, considering the story he once told about how everyone would love the show, but a majority of the audience wouldn’t understand the cons. Just astonishingly done. I started Blue Beetle and was amazed at just how engrossing it was. I just couldn’t stop reading. Even after John Rogers left, I kept reading out of a vain hope for something good to return, but post Rogers, it was a bit of a mess that ended in a really stupid story that did nothing more than fridge Nadia

    One of the best parts is how Rogers uses Legacy. Legacy is a core theme, with Jamie always trying to live up to the Legacy of Blue Beetle. And using the Legacy of Blue Beetle is important to Rogers. Dan Garret and Ted Kord are both important presences, through the character of Dani Garret and from Ted Kord’s books, that Jamie studies. Hell, Rogers even reintroduces Peacemaker, a character’s whose only notable feature previously was being the inspiration for the Comedian in Watchmen. But because of Blue Beetle and Peacemaker’s shared origins in Charleston Comics, Rogers uses him.
    But Rogers uses Legacy as a way to build on top of what came before, and not look backwards.
    The Reach are a great example of this. Rogers makes the Reach the core of the Blue Beetle mythos, despite being both completely original and something truly connected to Jamie. He takes the scarab and its weird history and expands on it, building on top of the foundation from the Legacy. It is actually the perfect way to make a Legacy character. While most Legacy characters suffer from the fact that it is far too easy to go backwards again and return to the Hal Jordan/Barry Allen/Steve Rogers etc, you can’t with Blue Beetle in the same way. If you return to Ted Kord, or to Dan Garrett, Blue Beetle will change fundamentally in a way that Green Lantern or Flash didn’t. It is the perfect way of doing a Legacy Character.
    Being able to take the Legacy and forge something new is so important. I mean, compare that to DC Rebirth’s focus on Legacy, as it is hard to think of any recent comic that is built around Legacy elements to such an extent as Blue Beetle. They make a big deal about it, but all it really means to go back to the oldest stuff and repeat that. A big deal was made about how Rebirth reintroduced Jamie Reyes and Ryan Choi, but it truly wasn’t interested in them. Ultimately, Rebirth cared only about Ted Kord and Ray Palmer. The Blue Beetle sequence was entirely focused on Ted and seems focused on going backwards to the days of when the scarab was magic. Meanwhile, the Ryan Choi sequence made very clear who the Atom was, and it wasn’t Ryan. And why DC Rebirth is so wrong headed. It sees its Legacy as a glorious past that must be returned to. But that isn’t what Legacy is. Legacy is a foundation to build upon to create something even better. And that’s what Blue Beetle does so well. Every part of the Blue Beetle mythos is used to strengthen Jamie’s story, to create something both unlike anything else and something that is strong because of the Legacy of its past.
    In a world that sees the Legacy as our past as something to replicate (and I’m not just talking about comics here, as our entire media landscape is flooded with it), Blue Beetle shows how we should truly embrace the legacy of before. ‘If I see far, it s because I stand on the shoulders of giants’. John Rogers could see very far when he wrote Blue Beetle, unlike everyone else who are too busy trying to work out how to be a giant

    I can’t believe how much I loved rereading Blue Beetle. It is tragic he never got the attention he deserved

    • John Rogers’ Dungeons and Dragons comic was one of the best comics of the 21st century and the best fantasy comic I’ve read. I agree completely with you on its greatness. I had no idea he wrote Blue Beetle. I’ll have to look that up.

      • The characters fit into archetypes, but are just different enough to jump out at you even as they fit easily into stories.
        Each issue wonderfully builds around an encounter, giving you a great action sequence with no ‘set up issues’
        The Action is some of the best drawn action sequences ever, creating all sorts of fantastic action beats in a medium that can often struggle
        The characters’ banter is hilarious, and provides the perfect equivalent to the best sessions of roleplaying

        I won the first volume in a raffle, and fell in love with the pure adventure of the book. It gets action packed, non stop storytelling perfect. And it really does feel like some of my best Roleplaying games, everyone making jokes and enjoying the crazy roller-coaster. Such a good series. The comic was one of two good things that came out of 4e (the other being the art design of the books)

        Nothing made me sadder than seeing at the bottom of the third volume a teaser for an issue that will never come. We were going to have a pirate story…

        • “And it really does feel like some of my best Roleplaying games, everyone making jokes and enjoying the crazy roller-coaster.”

          That was the part that got me. It feels like how I/we play when everything is going great. It FEELS right. It’s one of the best readable versions of what makes D&D so much fun. A lot of modern fantasy writing/comics based on the game feels like it’s never actually stayed up way too late playing D&D.

        • That is the best description.

          But yeah, there are too many comics that approach fantasy stuff either from a point of view of getting lost in the lore (and while I will happily discuss my love of EBerron or Dark Sun, roleplaying games lore isn’t supposed to be the focus) or get to self aware and end up feeling insincere (Rat Queens depiction of adventuring felt like that, like it was trying to prove that it wasn’t as silly as these other DND adventure comics).

          Rogers DND game gets that ultimately, it is about the adventure. Not convoluted plots, not rich lore. But adventure, excitement and fun with your friends.

          The only fantasy comic I can think that is better is a webcomic, Order of the Stick. Starts badly, but once the writer gets the hang of things, he manages to effortlessly build that fun adventure vibe, while also willing it with powerful drama.

          But yeah. You got it perfect. Fellowship style fantasy stories work best when it is obvious the writers know what it is like to stay up way too late playing D&D. And that is what makes John Rogers’ book so good

  3. Ooh! I gotta run, but I’m very interested in people who have positive experiences with Blue Beetle. I totally dug the first couple issues of the New 52 run, but I think they mostly aped the series you’re praising right now. I’m gonna revisit this rant later tonight!

    • Never read the New 52 Blue Beetle, as I heard some bad stuff. Instead of aping the series, it seemed to start at the same beginning and go out of the way to do the complete different thing, and in doing so, took the book in a more generic direction. Grossly simplified, without the interesting reversals, or the heart and soul. Take things in a ‘darker’ direction, and not hitting the drama of, say, Young Justice Invasion, that played the same story for drama and was successful.

      Ms Marvel is the best comparison. There are some major differences. Ms Marvel has a stronger social conscience, but Blue Beetle has a much stronger cast (partly because the cast actually gets to do things other than wait for a storyline, and partly because Blue Beetle doesn’t have Bruno). But it is a similar idea of a Spider-man style story, where the empowered teen isn’t from New York, but from an ignored city (El Paso instead of Jersey City), having adventures full of quirk while also dealing with the big dramas of a superhero universe.

      I highly recommend it, and would love to hear your thoughts if you get round to it

  4. Keith Geffen, john Rogers, and matt sturges runs on. Blue beetle were a hidden gem of prenew 52. The rebirth series seems to be heading back in that direction, and I couldn’t be happier
    I’ve also been really enjoying the corps title. I believe the three-headed structure represented the ego, the superego and the id right? Anyway, the voices were spot on. I really can’t wait to get into new threats, where I always thought vendetta excelled

    • Not a big fan of Matt Sturges run. It felt like with John Rogers gone, they and handed the book off to one of the c-list writers that the Big 2 always have, and Sturges had nothing inspiring to write about. He did is best to keep the general idea of what Blue Beetle was, but it isn’t particularly interesting.

      And the Rebirth book seems to be focused on dismantling and destroying the Jamie Reyes mythos. And that’s ignoring the fact that Rebirth honestly seems like it wants to ignore Jamie for Ted Kord. If I had to state which part of DC Rebirth pissed me off the second most, it would probably be the Blue Beetle stuff

  5. I guess what I liked about the matt sturges run was that it married an incredibly topical subject, immigration, with superhero legacy. And then, it also followed up the blue beetle mythos established with a brilliantly fun two-parter, that wrapped the run effectively.

    Have you read the preview? The focus appears squarely on Jamie. And it looks like they are building back the relationships established pre52 not knocking them down. Plus. Its written by the creator of the Jamie Reyes concept. I hardly think he’s getting the shaft.

    • The point where Jamie’s father takes him to Mexico aside, I felt that story did very little actually with immigration. Especially considering how poorly the politician stuff happened (things just happened, instead of truly having a story about Jamie navigating local politics). It was honestly more of a story about corporate villainy at the end. And I really didn’t like that last two parter. Things were rushed, and Nadia’s death felt pointless. Sturges run had decent ideas exploring immigration or fallout from the Reach, but never got to turn those into anything meaningful

      I haven’t looked at the preview for Blue Beetle Rebirth, because I don’t put too much effort into looking into the next thing from the company that just started an initiative to torpedo everything interesting in their line. All I know is from DC Rebirth 1, realised what DC was relaunching their line to be like, and finally gave up on them.
      DC Rebirth gave me very little faith. Changing the scarab back to being magical is a devastating move to Jamie as a character, and I can’t see how you do it without causing an incalculable amount of damage. The genius of the Reach was that they were core to the very Blue Beetle mythos, while being something that could not belong to any Blue Beetle except Jamie. Jamie Reyes was important, because the Reach are important.
      It created the important difference between Jamie and, say, Ryan Choi, Cassandra Cain, Stephanie Brown, Renee Montoya, Mia Dearden or any other Legacy Character that DC has made a point to move backwards from. Jamie Reyes has an importance to the Blue Beetle Legacy that none of these other characters have, and it is what has given him sticking power (there is a reason that out of that entire list, Jamie Reyes is the only one that has existed on TV as his superhero identity).
      If you gut the Reach, you lose very little to the Blue Beetle mythos by killing Jamie and having Ted as Blue Beetle again. You only lose Jamie and his supporting cast, which I would hate but is a choice DC have made again and again. And DC Rebirth showed that they are much more interested in Ted than in Jamie.
      Hopefully Giffen will do a good job with the new book, even under the current editorial climate, which looks to be interested in stifling the exact sort of stuff that made the original Blue Beetle great. I’m not sure how much of Jamie came from Giffen, and how much came from Rogers, they both created him, but Giffen left quickly after Jamie was established, which makes me suspect that Giffen’s role at most was the high concept, and that Rogers was the guy who actually did the nitty gritty. Still, Giffen does great stuff, so maybe he can do good, despite everything

  6. I understand, I love the reach concept as well, because it was so new. I think this revision is going to make the run different, but it doesn’t necessarily mean the reach are wiped out. and I don’t think it changes Jamie’s character necessarily. I dont think it means he’ll be less special, iî just makes it more conventionally “sword in the stone ” than before. I’d at least read the preview, or the first issue, to see how its handled.

    • The thing is, the lore around the Reach are going to have to change for this twist to mean anything. There needs to be more to the twist than ‘the Reach scarabs use magic, not technology’ for the twist to mean anything (there is a reason superhero comics often keep sci fi and magic elements seperate. Because otherwise they end up looking exactly the same).
      And that’s the thing. The sad thing about newer characters is that it is so hard to get them to connect with audiences. Ms Marvel is a rare exception, and characters like Jamie are very lucky if they aren’t forgotten. And unfortunately, good writing, strong characterisation or fantastic supporting casts are rarely the sort of thing that leads new characters to being remembered. So changing the Blue Beetle mythos is such a way that makes Jamie Reyes less central is not a good sign for Jamie Reyes. And that’s what getting rid of the Reach would do.
      Now, they may use the magic twist to rewrite the Blue Beetle mythos in a way that creates a new reason for Jamie to be so central. Which sounds excessively pointless, but they may. But I currently don’t have a lot of faith in the company that reintroduced Blue Beetle with a scene that was all about celebrating that Ted Kord is back. Or the company who started a massive publishing initiative based around getting rid of everything new and interesting to rewind to when the writers were kids. Or the company who needed Wally West to ‘return’ so that Wally West could be white again, instead of using the black one that already existed. It is hard for me to have faith in DC’s stuff with Blue Beetle when they seem so much more interested in Ted Kord, and when the magic twist seems right in line with DC Rebirth’s ‘get rid of new ideas and return things to the way they used to be’.

      I’m not likely to read the new Blue Beetle, but only because I’m not reading any DC at the moment. DC Rebirth was such a disaster, that I just struggle to have any interest in a DC book written under the Rebirth banner. I tried to read Batman Rebirth, written by two of my favourite writers, and I just couldn’t even be bothered to open it. DC need to do something to give me faith again before I even bother reading a book. So I’m not going to read Blue Beetle.
      All I can say is that the Blue Beetle stuff of DC Rebirth is not only consistent with Rebirth’s philosophy, but a shining example of it. And Rebirth is a philosophy of going backwards, throwing away new stuff and bringing back as many straight white people as possible. Basically, everything that would hurt a character like Jamie Reyes. If I had to sit down and list every character I thought Rebirth had screwed, it would be nearly everyone. But Jamie would be at the top of the list.

      Hell, Giffen may be one of Jamie’s creators, but it is hard to think of a writer more closely connected to Ted Kord than Giffen. Giffen is probably more important that Dikto to Ted Kord, and it is hard to imagine a Ted Kord without Giffen or a Giffen without Ted Kord. THe guy inc harge of Jamie Reyes’ new series could quite accurately be called ‘the Ted Kord’ guy

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