Tuesday, October 20, 2020 

Sequart sugarcoats the ACW and Gerard Jones eras of Green Lantern

I've sometimes thought over the years that the comics site called Sequart Organization was one of the most pretentious, knee-jerk news sources around, dedicated to apologia. And after finding the following history pages on their site about Green Lantern, my opinion is further solidified. Here's something they once put up about the run in Action Comics Weekly, which is pretty devoid of objectivity, ignoring all the horrific mistakes that set the Silver Age GL on a path of collapse, and most bizarre of all, there seems to be some confused errors in history research here:
Green Lantern’s appearances there are among Action Comics Weekly‘s most fondly-remembered serials. Although each episode simply carried its own title, Green Lantern’s may be broken down into six separate storylines. In addition to these, Green Lantern received two specials tying into these storylines, and two different versions of a crossover ending Action Comics Weekly‘s run as a weekly anthology were produced, both focused on Green Lantern.

The first ran six episodes, written by James Owsley with art by classic Green Lantern artist Gil Kane (with inker Don Simpson on some episodes and with Tod Smith stepping in to illustrate the final chapter). It begins with Hal Jordan and his alien girlfriend Arisia living with former Green Lantern John Stewart and his wife, Katma Tui. In the wake of the final issue of Green Lantern Corps, Jordan is the last Green Lantern, the Corps having been disbanded. As Jordan tangles with Star Sapphire, Katma Tui is murdered. Stewart suspects Star Sapphire, but Hal suspects that the villainess hypnotized Stewart to do the killing, explaining his shock-like state when Hal encountered him, standing over his wife’s body. At an inquiry into Katma Tui’s murder, Hal’s ring comes to Stewart. When he puts it on, he lashes out angrily at Carol Ferris, who’s in the audience and whom Stewart knows to be Star Sapphire, his wife’s apparent killer. She’s said to be dead, although she later revives because of her powers, which aren’t known to the public. Later, Stewart is arrested. Hal, meanwhile, has been left by Star Sapphire in an alien prison, and he sent his ring to Stewart, in hopes he’d be freed. Ominously, it returns to him on its own. He escapes and confronts Star Sapphire, only to find Stewart’s apartment building demolished and people scared of Green Lantern, due to Stewart’s arrest for Carol’s murder. With Star Sapphire gone, Hal has no way to clear his friend, but he also has no possessions, since they were destroyed in Stewart’s apartment. Hal visits Batman, Superman, and Green Arrow, looking for help, but all refuse him. It’s a fascinating story that takes Hal to one of his lowest points, although it’s somewhat awkward in its pacing and conflicting artistic styles.
Let's see if I have this right. Katma was slashed dead by a brainwashed Carol Ferris, in a story that was stunningly forced and contrived, serving, just as terribly, as a lead-in to a GL special where John was wrongfully accused of stealing a diamond from an African mine that was actually taken from there by Hal in ACW #601, and this is considered "fondly remembered"? What kind of madness is this? To make matters worse, the Sequart writer even confuses how things turns out, since it was indeed Carol in the Sapphire guise who eviscerated Katma right in the apartment, while John wasn't nearby. No mention that Katma didn't even put up any kind of fight when she went down, and I'm not accepting any defenses the 1st female member of the GL Corps no longer had a power ring to back her up. That's not an excuse for such an awful story, which the "historian" has the gall to call "fascinating". Only as an example of poor storytelling and editorial mandates, I'm afraid. The claim nobody knew what powers Carol had under the Star Sapphire guise isn't accurate either, because, while only a handful of people like Hal knew she'd been influenced into becoming Star Sapphire by the Zamarons, the role itself was known to the public when the story elements first came up in the mid-60s. And "somewhat" awkward? Gee, that's certainly downplaying just how disrespectful it was to what had come before, and how jumbled and inconsistent it was with prior storylines from the 2nd GL volume.

Funny thing about the article is that it does admit Peter David's run was crummy (yet there's still confusion abound in how they discuss it), and indeed, the whole notion an accomplished aviation pilot like Hal was brainwashed by his own ring at Abin Sur's bidding into being fearless was horrendously bad, no matter how much it was being played for laughs, but then, when they turn back to the Owsley tales, they lapse into the sugarcoated mode yet again:
The John Stewart storyline was resolved in Green Lantern Special #1, by writer James Owsley and penciler Tod Smith. The idea of having Stewart a suspect in Carol Ferris’s death was dropped, with a passing comment about how a body couldn’t be produced. Instead, Stewart is extradited to South Africa, based on an earlier action by Hal Jordan. Jordan visits a devastated Oa and retrieves another ring, which he gives to Stewart. John Stewart proceeds to undermine South Africa’s regime, prompting Superman to talk to Hal. Hal then talks (and fights) with Stewart, who stops his campaign.
See, this is what makes no sense. Hal was the one who took the diamond from the south African mine, and even with the mask on, it was apparent this was a white man doing the act, yet John's the fall-guy here? And all this was done for the sake of producing a very badly scripted allusion to the racial strife going on in south Africa at the time. Most aggravating thing about the story is that John winds up spending time with at least two black men who're later revealed to be terrorist assassins themselves, and earlier on, it's shown that they'd murdered a white couple and painted graffiti on their house wall saying "kill whitey". So was the story trying to make a clear statement on the racist atmosphere and apartheid perpetrated by the white community in south Africa at the time, or, was it saying the black community back then was no different? The story was just frustrating to read, and as a story mixing sci-fi with real life metaphors, it was very badly worked out. The following story from ACW certainly was too:
At this point, writer James Owsley returned to Green Lantern’s Action Comics Weekly serial, joined by penciler M. D. Bright, who also co-plotted with Owsley. The team would remain for the remainder of Green Lantern’s Action Comics Weekly run, and it would be particularly strong, especially the sequences occurring in outer space.

The team’s first storyline together, running five episodes, would be particularly strong. It begins, dramatically enough, as Hal Jordan rescues a tiny alien ship about to fall into Earth’s sun. From there, believing his ring cuts him off from the reality of risk, he takes off his ring to pilot a plane, which predictably almost crashes. The sequence manages to be entertaining, but it also focuses on Hal Jordan’s risk-taking behavior in a way that had seldom been depicted as clearly. When he goes to charge his ring, however, his power battery explodes in a burst of yellow energy that heads into space. He soon follows it beyond his sector of space, knowing that, with the central power battery on Oa destroyed, his ring might not be able to help him navigate and he could become lost in space. With his ring running out of charge, Hal encounters an alien known as Priest and becomes embroiled in an interstellar war. With his ring not able to navigate, Priest (a former Green Lantern himself) retrains Hal Jordan, and Hal discovers that he doesn’t need the power battery except as a psychological crutch — another major revision to the Green Lantern mythos. Hal forces the two sides of the interstellar war to sign a truce, and he heads back to Earth, feeling reborn. Clearly, this story was intended to begin a major reconfiguration of Green Lantern, and it’s surprisingly successful. In the final panels, however, we see that the two sides of the interstellar war are indeed collaborating: on an “ultimate weapon” to use against Hal Jordan, who forced the two sides together.

The next storyline, running six episodes, begins nearly a week later (this was serialized weekly, after all), as Hal encounters a strange wooden ship near Earth. He realizes the ship is a shrine and feels no sense of threat, so he deposits it in a Californian forest on his way back to Coast City. To carry out the repairs, the alien ship logically copies the local form of life: creating a duplicate of Hal Jordan. When this duplicate goes into a truck stop and sees an action movie, it logically duplicates the behavior depicted, having itself no sense of good and evil. “When in Rome,” the objective narration declares. The duplicate incinerates a patron and then the truck stop, stealing a flatbed of lumber for the ship’s repairs. “The visitor hopes it is not being rude,” the final caption of the first chapter brilliantly tells us. As Hal Jordan returns to the ship, the military super-hero Captain Atom intervenes, blowing the ship up and ruining Hal’s negotiations with the alien. The two heroes clash over how to deal with the alien, whom Hal believes has survived. Captain Atom abandons Hal to deal with a collapsing building, then confronts the alien again. Hal intervenes, and the two heroes fight. Captain Atom wins, despite this being Green Lantern’s story. Captain Atom finds Hal, but leaves him to find his power battery — which he does. Meanwhile, Captain Atom proves incapable of following the wooden ship (now reconstructed for the third time by the relentless alien) into space. He finds Hal Jordan, apologizes, and leaves the ship for Hal to worry about, since outer space is more properly Green Lantern’s milieu. The story may be read as silly because it resolves around the old cliche of conflict between heroes, but it’s really a story about alien life having different values than our own — a type of story more commonly found on The Twilight Zone than in super-hero comics. Because of this, it’s an excellent Green Lantern story, one that recasts the hero as a serious sci-fi character.

This storyline continues into the final one serialized in Action Comics Weekly, which runs only four episodes. Hours after the previous storyline, Hal has almost caught up with the alien ship — which he’s only concerned about because it learned violent ways while on Earth. The ship seems to teleport him, however, to a place with the blue-skinned aliens that he remembers from the interstellar war he stopped. The aliens seem to worship Green Lanterns, and they point him to their master: a bulky, boastful, half-human Green Lantern who calls himself Malvolio of the Green Flame and who’s dressed like the original Green Lantern, Alan Scott. Malvolio soon informs Hal that Hal can never leave the planet. The two fight, and Malvolio literally knocks Hal through the planet. Hal finds a golden space station, which he assumes was made of gold to protect it from Malvolio. But its inhabitants reveal that Malvolio stole his ring from his human father two hundred years before — making him a human Green Lantern who preceded Hal Jordan, another new addition to the Green Lantern mythos. Since leaving Earth, Malvolio has set up a strange sort of cult on the planet, and he’s has been watching Hal Jordan since Jordan’s adventure in the area, in which he stopped that interstellar war. Malvolio explains that his father was an alien Green Lantern who, in the 1600s, reproduced with a human woman. After killing his father, Malvolio was beaten by Priest (also from the interstellar war story), who trapped him in this “zone” of space. Malvolio and Jordan fight, during which Hal’s ring inexplicably explodes. Jordan uses weapons on the golden space station to fashion an arrow, apparently killing Malvolio. His ring gone, Hal takes Malvolio’s ring and heads off into space to track the wooden ship. On the final page, Malvolio recovers: this has all been a ruse to get Hal to take Malvolio’s ring, in preparation for the day when Hal sees Priest, Malvolio’s old enemy, again.
Ugh, ugh, UGH! As a fluff-coating of a terrible moment in comics history, this was enough to vomit. The whole fight between GL and Capt. Atom was pointless, and the storyline involving the alien was never resolved, nor were a few other parts. Something which, amazingly enough, the writer had the audacity to admit:
Green Lantern’s Action Comics Weekly stories end there, and a note at the end of the final episode announced a new Green Lantern series in time for his 30th anniversary. But of course, the story told in Action Comics Weekly wasn’t finished. Hal was left still seeking the wooden ship. Malvolio’s revenge plan hadn’t been resolved, and his origins remained unclear — including what connection he had to Alan Scott, whose weakness had been wood, not yellow. Also unresolved was had the threat of the “ultimate weapon” being built by the two sides Hal forced into a truce.

DC offered Green Lantern Special #2, also by Owsley and Bright, to wrap up these storylines. But while a brilliant issue, it only concluded the “ultimate weapon” story. Priest returned, but Malvolio apparently didn’t activate his revenge plan, despite Priest and Jordan being in close proximity. The wooden ship was mentioned but never found.
See, like I said, it was one of a handful of matters left unfinished, and that's the problem. It's been said Owsley had fallouts with the editors, one of the reasons why Malvolio was never seen again, yet I don't get where the Sequart writer thinks this cardboard villain could have any serious connections with Alan Scott, save for a character design that looked similar, and in hindsight, was insulting the very Golden Age character the villain bore resemblance to. I wouldn't be shocked if the GL installment alone led to Action Comics' failure as a weekly anthology, and it decidedly should've remained a Superman comic regardless, even though there were other anthological tales there that worked better than GL's, and weren't as atrociously written as GL turned out to be. And what was so "brilliant" about the 2nd of two GL specials? In the end, it only served to break up a friendship between Hal and an aviation designer he'd met in the Secret Origins anthology (the story there was also very weak), and overall, the way things were handled was truly awful. Worst part about the whole mess is that DC probably put GL into the anthology deliberately, because they felt they could get away with what they put Katma through more easily than in an ongoing series. One more thing I want to comment on:
By the time Green Lantern left Action Comics Weekly, it was already slated to turn back into a monthly Superman title. After six anthology issues without Green Lantern, a full-length crossover between the various featured characters was planned for the final issue. Neil Gaiman wrote a draft, and it was approved. But it relied on Hal Jordan knowing Superman’s identity and being on friendly terms with him, and the Superman titles had recently rethought these matters. The script was scrapped, although Gaiman was paid for it, and Elliot S. Maggin authored a new script, which was produced.

Both revolved around Green Lantern, but Maggin’s script revealed yet another part of the Green Lantern mythos: that Abin Sur’s ring had originally summoned Superman before retrieving Hal Jordan. In the story, Hal was apparently killed and had to overcome his recent troubles in order to choose life. In the meantime, his ring summoned the other stars of Action Comics Weekly as potential successors.
Umm, I think those were DC's variation on "What If?" anthology stories at Marvel, so I guess this compounds all the muddles found in this stupid item Sequart brewed up. And it doesn't get any better with the following short item, telling about Emerald Dawn:
With the demise of Action Comics Weekly, DC set about resurrecting Green Lantern. To do so, it wisely sought to precede a new series with Green Lantern: Emerald Dawn, a six-issue mini-series retelling Hal Jordan’s acquisition of his ring. An excellent storyline, it was followed immediately by a third Green Lantern series. Before it was a year old, a second six-issue mini-series entitled Emerald Dawn II was launched.
Another head-shaker alright, and one can only wonder what they think of it now that Jones is imprisoned. Both miniseries were dreadful attempts to give Hal more "depth" as a character, by making him a drunkard while driving, which does not instantly equal quality storytelling, and the 2nd one was even more implausible than the 1st, because Katma Tui had been seen as an active member of the GLC in the 1st, yet in the 2nd, she was depicted as a rebel on Korugar against Sinestro's wrath, before she'd become a GL member! It also made Hal out to look absurdly naive to what Sinestro was doing to the populace on his planet, and the way the bank robbers Hal had captured while sneaking out of the prison van transporting him to serve his jail sentence figured out very quickly who he was also reeked of forced storytelling. Overall, these Emerald Dawn minis were monumentally stupid, and I'm glad I never had interest in buying them even before Jones was arrested by the FBI. Now, here's another page about the Gerard Jones era of GL during 1990-93, along with the subsequent Ron Marz run, and it's just as galling:
The first eight issues of the new series did the hard work of reconstructing the Green Lantern characters in the present, climaxing in a great battle and Hal Jordan set to reconstruct the Corps. The next four issues focused on Guy Gardner. Green Lantern #13 was extra-long and focused on Hal’s new Corps. A four-issue storyline followed, focusing on John Stuart, assigned to manage the patchwork of cities from various worlds left over after the end of the first eight-issue storyline. Issue #19 was another extra-length issue, this one focused on Golden Age Green Lantern Alan Scott.

A family of characters was being systematically — and quite artistically — reconstructed. With #25, that family took the form of a family of titles with the launching of Green Lantern: Mosaic — a risky but ingenious title focusing on John Stuart and the patchwork world of clashing cultures — and Green Lantern Corps Quarterly — an anthology handling the wide-flung world of Green Lanterns and related characters. A 3-issue prestige-format mini-series, Guy Gardner Reborn, quickly followed; after its conclusion, an ongoing title entitled Guy Gardner was launched. The same month, the ongoing title Darkstars was also launched, focusing on a group competing with the Corps. Green Lantern had in short order become a whole family of titles on par with Superman’s or Batman’s, but with unique titles for Hal Jordan, John Stuart, Guy Gardner, the rest of the Corps, and a Corps competitor.
My my, sugarcoating the sorry excuse for ultra-leftist politics in the Mosaic spinoff, are we? Or how the alien raccoon named Ch'p was killed by a truck in the 2nd issue? Not to mention at least one moment where Jones' offensive views on sexual relations found their way into the proceedings? Well, no one said propagandists weren't obsessed with glossing over all the worst mistakes made in any medium. No mention how Jones turned Appa Ali Apsa into a pathetically scripted villian who achieves near omnipotent power to move entire cityscapes to Oa, nor how underwhelming the "great battle" really was either, I see. I've long concluded the first 18 issues in the flagship title of the 3rd volume should be avoided like the plague, along with all annuals from this cruddy volume, for that matter. The 19th issue, thankfully, wasn't as bad as some others, but that's probably because Jones may not have written it, and there are a few other issues where I assume that's the case too. But "hard work"? Don't make me laugh.

Regarding the 1992-96 Darkstars series, I've thought it could've been an indirect spinoff, and written as it was by a different scripter, Michael Jan Friedman, they were fortunate to evade much of the pretensions GL suffered from under Jones, though Darkstars soon morphed into a title where a few former GLs were shoehorned in post-Emerald Twilight (and so too was Donna Troy, who'd forfeited her powers for a time in the Team Titans spinoff from the New Titans). It's really too bad that series had to be tainted with a tasteless event as a result. Some of the stories published in GLC Quarterly were okay, and if they can ever be reprinted, I'd recommend keeping them separate as possible from the rest that are scripted by Jones.
As Green Lantern approached #50, a big shake-up was in store for the Green Lantern family of titles. But first, a major event would unite DC’s cosmic or outer space titles. Comprised of two bookend specials and taking in two months worth of Green Lantern, Darkstars, and L.E.G.I.O.N. ’93 issues, “Trinity” was a major DC event at the time. In the months immediately following “Trinity,” Green Lantern: Mosaic would conclude with #18, its experimental nature never adequately catching on with fans. The final fate of the Mosaic world, created in the relaunched Green Lantern‘s first storyline, was at last revealed. At the same time, in Green Lantern, Hal Jordan returned to Earth and discovered that Coast City, his home since the Silver Age, had been eradicated during Superman’s blockbuster “Reign of the Supermen” storyline.
And no objective view of that either, right? I read the Trinity crossover, and it was nothing to write home about (Maltus, the planet the Guardians originally came from, got soiled in the tale, IIRC). I remember just before it came out, there was a GL storyline where some enemy aliens destroyed Hal's power battery, in a prelude to the atrocity that was Emerald Twilight, strongly hinting Jones really was going along with the whole shambles to come. That claim Coast City was Hal's living quarters since the Silver Age isn't entirely accurate either, because in the late 60s, he had, for a time, decided to journey round the US taking up different jobs than being a test pilot, because Carol had become engaged to a different man. Hal did eventually return to Coast City on occasion, but it wasn't until the end of the 70s he took up residence there again, and even then, the stars of the show subsequently moved to Los Angeles, where they resided until the end of the 80s.
DC editorial apparently had dictated that issues #48-50, comprising the “Emerald Twilight” storyline, would feature the destruction of the Corps and of the Guardians — as well as Hal Jordan becoming a bad guy. Gerard Jones — who had overseen the Green Lantern titles since Emerald Dawn and who had written the stories that had reconstructed the Corps which DC now so cavalierly wanted demolished — wrote a script for the story but came into conflict with DC over the changes DC wanted. Though already solicited, Jones’s issues were scrapped and a new version ordered — to be written by Ron Marz, who would replace Jones permanently on Green Lantern. Thus #47 saw Jones’s abrupt exit from the title: the end of the era he had guided became visible in the end of the Mosaic world and in the good but rushed “Emerald Twilight” storyline, mirroring the Emerald Dawn mini-series that had launched the new era. As everything Jones had constructed fell apart — in nicely mirrored though rushed fashion – Green Lantern Corps Quarterly, with #8, came to an end as well, its titular group of characters having been destroyed.

An era was indeed over. The Green Lantern family of titles had been scaled back, with Guy Gardner retitled Guy Gardner: Warrior and its hero given new, non-Green Lantern-affiliated powers. Darkstars also survived. After “Emerald Twilight,” the Corps was gone, the Guardians and Sinestro killed, and Hal Jordan made nearly omnipotent. In his place was Kyle Rayner, to whom Ganthet gave a ring at the end of #50. With the end of the Corps, a new and exciting era had begun.
And this is confirmation Sequart has no issue with the horror tale spun in the wake of Twilight either. What's the use of history compilations if you can't be objective? In the final paragraph:
Gerard Jones’s tenure on Green Lantern was a titanic one, which restored the Green Lantern Corps to prominence and saw an explosion of titles. In many ways, it was the template for Geoff Johns’s revival of Green Lantern, years later. Including “Emerald Twilight,” which marked the definitive end of Johns’s continuing story, as well as issues set in the past (e.g. Emerald Dawn), Johns’s tenure comprises an impressive 135 issues, most coming from his final two years on the franchise (when the number of Green Lantern-related titles exploded).
Wow, no wonder I wound up reevaluating some of Johns' early writings during the mid-2000s, concluding they were built on some pretty bad elements whenever they weren't relying on badly written nostalgia trips - they also adhered to one of the most pretentious eras in comicdom. Jones' run was neither titanic (unless maybe you think of it in terms of the British ocean liner that sunk in 1912), nor did it restore the GLC to prominence of any kind, due to how uninspired and phony much of the stories were.

While we're on the topic of the PC destruction of a fine sci-fi creation, I also thought to take issue with the following item from a site called You Don't Read Comics (what a weird name indeed), which wrote about the 90s era in a way that's not much better, even as they do make mention of Jones' atrocities that got him jailed:
The book would focus on Hal, though John Stewart would be given his own spinoff under Green Lantern: Mosaic, and Guy Gardener would hang around in the Justice League before getting his own book. Mosaic would eventually be canceled, and the sales for Green Lantern would slowly slip down as DC's sales, in general, seemed to flag in the early 90s. While the book was solid itself, it's hard to recommend people pick up the run for one solid reason: Writer Gerard Jones is currently serving a six-year sentence for possession of child pornography, beginning in 2018.
On the latter matter, I'm in agreement with the writer. Nobody should have to buy junk that Jones could profit from in residuals. But they think the series was "solid"? That's where we're in firm disagreement, due to the heavy-handed politics and other slapdash elements rampant in the GL run when Jones was writer, along with several other books he wrote. They do tell what appears to be Jones' original direction for Emerald Twilight, however, and it sounds little better than what Marz scripted in the finished product:
Gerard Jones was asked to come up with an idea to update Hal, similar to Superman and Batman, in his book. The Guardians of the Universe, the leaders of the Green Lanterns, would fight against a different force of Guardians, each claiming the other to be frauds. True to the book favoring Hal at the time, and Jones favoring Hal to an insane extent would be the sole person in the Corps who believe the original Guardians are the real deal. The end result would have Hal as the lone rebel fighting against an even more oppressive force of Green Lanterns led by his mortal foe Sinestro.

After his ring gets destroyed on the ruins of his hometown Coast City (more on that in a moment), Hal Jordan realizes that he has somehow internalized the power of the Green Lanterns. He uses this to fight against everyone and somehow restore the original Guardians. However, it would also be revealed that the original Guardians caused his father's death by intentionally killing him, causing trauma in young Hal Jordan's brain that would help him conquer great fear later. As such, Hal would leave the Corps and serve as his own hero, the working-title hero The Protector.

Jones' original plan would give Hal his own book under his new title, while another GL would take the core Green Lantern title. In theory, a new character. However, DC editor Kevin Dooley is attributed to striking this idea down because it wasn't good enough to attract new readers. Dooley would work with other editors to come up with a new plan. Instead, Gerard Jones would leave the book with issue 47, despite having written summaries and even partial art being taken care of for issue 48. The letter column would actually address this sudden swerve, by saying that there would be a 2-month gap between installments, and there wasn't even a cover preview.
Yikes...this was what Jones had in mind? Now that is sick. Filthy. It would've made the Guardians out to be intentional murderers, no better than what Appa Ali Apsa became under Jones in the first 8 issues of the 3d volume, when he murdered a character seen in the Owsley material. (A character who was never mentioned again, IIRC.) I know that, as time went by, the Guardians were portrayed performing questionable acts that troubled Hal, and which they subsequently decided was reason for leaving the universe behind to spend time with the Zamarons (who went curiously unmentioned in Jones' run, IIRC), while leaving the GLC to hold the fort and run things their way, but they were never depicted upholding murder of innocent people, not even to serve as "motivation" for the heroes they'd recruit. At worst, Jones' story proposal reeks of the terrible insular economy writing that's destroyed many a superhero title and franchise.

But as good as it is if Jones' pitch wasn't accepted, that Marz's pitch was is precisely why there's nothing to feel relieved about, though it's long been a moot point. Oh, and look what this site says about what came during Twilight:
Hal Jordan would be unable to "move past" his grief, it bubbling up from under any control he tried to exert on himself. At first, he would summon up his memories of his father, then his mother. They both ask him to move on, his subconscious begging him not to break any of the rules of the Green Lantern Corps, or to do anything stupid. For those who know Hal, he tends to do stupid things without thinking, and he does not listen to his memories of his parents.
This makes me think of Spider-Man's One More Day, where Peter Parker wouldn't move on after aunt May Parker was gravely injured by a hitman's bullet, and he made a deal with Mephisto to remove his marriage to Mary Jane Watson in order to change May's fate. But Hal does stupid things? Ahem. It's the writers who depict him doing them, and up to us as readers and critics to determine whether these steps are in good or bad taste artistically.
These three issues would have a meteoric impact on the entirety of the DC Universe. Hal Jordan would take the (very 90s, but also very cool) name Parallax as his own, and try to convince his friends that the world needed to be fixed at any cost. This would result in the late-1994 DC line-wide event Zero Hour.

In Zero Hour, Hal would reach out with another hero-turned villain Extant (the former Hawk of Hawk and Dove, don't ask) and try to literally rewrite reality to make it favor the things they've lost. Hal would become a minor recurring villain in the pages of the cosmic DC heroes (and Justice League), a rather ignoble fate for a former founding member of the Justice League. Hal would also later sacrifice his life to reignite the sun in 1996's event Final Night.
What was done to Hank Hall was equally reprehensible, and I seem to recall that Extant later turned up in the page of JSA, still a villain, and destined to be destroyed in a time switch gimmick by Al Rothstein to save his mother from the same fate in a plane explosion. But that was still no excuse for keeping the former Hawk from the duo with Dove in a monstrous role he shouldn't have been plunged into in the first place, back in 1991's Armageddon crossover (speaking of which, it's incredible that the miniseries titled "Armageddon: Inferno" was otherwise unrelated, and thus far more palatable than anything else part of that crossover). Oh, and what's so "cool" about a name like Parallax when it was applied to one of the most uncool roles of the 90s? Quite mystifying. There's more:
There is one more aspect to speak about with this event, however. Thanks to the early days of the internet, the more toxic side of comic fandom was about to reveal their ugly heads. Calling themselves HEAT, Hal's Emerald Advancement Team would demand the reversal of editorial decisions revolving around Hal Jordan and the restoration of Hal as the premier Green Lantern. New lantern Kyle Rayner would either be left alone, depowered or "die in a fire." They would basically be obnoxious on early message boards surrounding DC comics, which seem to have been lost to time. The group was somehow passionate enough to take out a double-page ad in Wizard Magazine, the premier comic magazine back in the day. It's estimated this cost $3,500.00 at the time and was summarily mocked to hell by the same magazine. The website still exists, actually. There are a few dead image links, and the guestbook seems to have died or broken. However, you can visit it here so long as Tripod still exists as a hosting service. It's a weird little snapshot into toxic fandom in the mid-90s… and was ultimately made redundant anyhow.
First off, I realize fandom as we know it aren't saints, and I'm sure there were those who undermined the cause of Hal Jordan fans by acting obnoxiously - possibly even profanely - on message boards back in the day. But something bothers me about this description of "toxic fandom". It sounds like that offensive slur leftists were using until recently, "toxic masculinity", and could be used for advancing anti-heterosexual propaganda and such, and was more recently substituted with attacks on fandoms, an alleged criticism that wasn't altruistic. I don't have a problem with complaints about people writing repellent, irrational quarrels online, but I think it could pay to avoid risking something that sounds like a modern allusion to political correctness. Of course, there's also the problem of where the YDRC writer stands in all this:
You see, Geoff Johns would bring Hal back in 2005 with what would be the start of what would be a swath of resurrecting Silver Age heroes and sidelining (or equaling) their legacy characters. Admittedly, Johns would have a fantastic comic run, going from 2005 to 2013, a modern record for most creators. Johns' run on Green Lantern would even survive a complete line-wide reboot in 2011's Flashpoint. Along with Batman, Green Lantern would literally be the only book to survive two massive reboots and still somehow be the same continuity from all the way back in the 1950s.

However, with Hal having returned back to comics only two decades later and having been back for 14, are these comics still worth looking at?

Most certainly, yes
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While lacking the political and social oomph of comics like O'Neill and Adams' Green Lantern / Green Arrow, these three issues are a fascinating view of a hero's descent into well-meaning madness and the lengths Hal Jordan can go when he believes he's right. While the core start of the event is found under an author with a troubling legacy and begins with another major event's ending, this was the first comic in decades to make Hal Jordan indeed a compelling character beyond "that guy who acts seriously under pressure." The idea that a hero could lose their way after such a tragic loss is rarely examined, with tragedy instead being often used as an origin story or a random way to raise the stakes with another villain.

While the original concept could have provided new story ideas, it's hard not to see how important these three issues wound up being for Green Lantern and DC Comics. Sometimes, comics don't need a massive message about being just.

Sometimes they just need to tell a damned good story and take chances
.
But they weren't telling a good story at all. If they wanted to, they wouldn't have scapegoated Hal, and if they really needed to replace him, they wouldn't do it so cavalierly, as if a fictional character were the sole problem, instead of a writer as pretentious as Jones was. Gee, for somebody complaining about "toxic fandom", he sure doesn't seem concerned about toxic abuse of famous creations by ingrates in the editorial departments, nor does he seem concerned about the way Alexandra deWitt was offed in the fridge by Major Force, all allegedly to give Kyle Rayner "motivation". This is disgusting, and judging by how he alludes to "decades", which hints he means all the way back to 1959, when Hal debuted, it's clear he's somebody who has no interest in the source material, and literally believes only the most modern mishmash matters, not the older stuff, some of which I proudly own, including a Silver Age GL volume 1 paperback.

To think, that somebody believes so hugely that the concept of a fictional hero falling from grace is that vital for escapist fiction, and worse, for an established character who's primarily meant to serve as the star of stories meant for entertainment, to have this belief applied to him, rather than a new creation, is tremendously disappointing. So he believes his tommyrot that much, he's even willing to fully embrace a story where an established hero commits murders? This is shameful, and the worst part being that, while it would be just as abominable if Superman were put through this, ditto Batman, the YDRC writer clearly sees Hal as an easy target because he's not Superman or Batman. This is also what led to Identity Crisis turning Jean Loring into something she was never created as years before, and nobody gave a crap how illogical it turned out, because their ideologies and narrow ideas for what makes "entertainment" are so much more important than logic and cohesion. And what the YDRC writer said is something only somebody with neither interest nor investment in the older creations could say. A valid argument can also be made that, when you claim you're a fan of a particular character or franchise, and then suddenly, one day, out of nowhere, you say it's perfectly acceptable to kill them off in the worst ways possible, or worse, turn them into murderous villains...you were never a fan at all. The way people lacking respect for past creations and their hard-working creators attach themselves to concepts and creations they otherwise don't find appealing is stupefying as it's nonsensical. Marvel's also suffered from these same problems, especially in the past 15 years.

As somebody with a huge appreciation for the past stories with Hal Jordan, it's hugely disappointing whenever I find apologists for failure like these coming about making sugarcoated excuses for atrocious exercises in futility. I'm sure I've said this before, and will again: this is why the worst storylines and status quos remained in place so many years. But hey, don't worry, because I'm sure there were "fans" with very poor notions of how to object to these bad directions, whether on a message board, or with their wallets - from what I've gleaned over the years, it's clear even the H.E.A.T campaigners didn't call for an outright boycott of GL, despite how that could've been the best way to send a message, and anybody who acted abusively on web forums was surely part of the reason why DC stuck to their direction with Hal for nearly a decade, because why would somebody change their minds if, on the one hand, the dissenters were acting abusively, and on the other hand, they actually bought the Rayner stories despite everything? Even today, fandom's stand on anything is very ambiguous, though the difference is that today, fandom as we know it has dwindled, for logical reasons, and no matter where things are going with DC and Marvel, they may never regain it.

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Monday, October 19, 2020 

Hawaiian comics store closes down

KHON-2 reports that a specialty store located in Hawaii has been forced to close for good because Coronavirus hurt their sales badly:
After more than 30 years of being tucked away in Kaimuki, Gecko Books and Comics marked its final chapter on Oct. 16.

Like many local businesses, this long-time landmark fell victim to the pandemic.

“I’ve been on this block since 1987,” said owner Ted Mays.

For 34 years, Mays has been the go-to for comic books, memorabilia and hobby specialty items. But after more than three decades at the corner of 12th and Mahina Avenue, it is time to close up shop.

“A lot of people were in denial for sure,” he said. “But I think they thought I was gonna do this forever.”

Mays said that his decision to close is a result of a lot of things, from the rising cost of doing business in Hawaii to not seeing his family in a long time. However, he said that the second shutdown due to the COVID-19 pandemic is what ultimately did him in.

“The second shutdown with a 48-hour notice was probably the last nail in the coffin, where I just realized we just took a huge huge financial loss,”
said Mays.
Very sad indeed, and IMO, any publisher who won't market their products by merit is at least partly to blame here. With this store closing, how many more specialty stores are left in the USA? As the closure of a store across the ocean in Hawaii hints, the numbers could be getting even lower.

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Sunday, October 18, 2020 

A convention on Italian comicdom

Here's an article on the Times of Malta announcing an online convention celebrating the Italian language in comics, and graffiti illustrations at the Italian Cultural Institute in Valletta.

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Saturday, October 17, 2020 

The Simpsons producers' anti-Trump leanings come to the fore

According to Breitbart, the Simpsons has gone fully anti-Trump, with a Halloween special listing 50 reasons why they don't think you should vote for Donald:
The FOX animated series The Simpsons has ramped up its effort to push partisan politics, this time in the show’s 31st Treehouse of Horror Halloween special, which shows viewers 50 reasons why voters should not re-elect President Donald Trump.

The show’s 31st Treehouse of Horror Halloween special (scheduled to air on election day) begins with Marge calling Homer to remind him to vote, allowing him to arrive at the polling station just in time to cast his ballot. However, Homer appears undecided over who to vote for, enraging his progressively-minded daughter Lisa, who chastises him for even considering Trump given “everything that happened over the past four years.”

A confused Homer tells Lisa he does not know what she is talking about, at which point the show provides 50 reasons why the country should not give Trump a second term.
And very disgusting, offensive and defamatory "reasons" they are at that, more of which can be read at the link. As if you needed another reason why the time has come to bail out of Simpsons viewing, if you haven't yet, well, here it is. The show resorts to blood libels upon blood libels of the worst kind, further compounding my modern opinion it was a mistake to have bothered watching the show in its heyday years back. The producers are such unbelievably biased, contemptible people obsessed more than ever before with social justice propaganda, and to continue watching the series at this point would only be to provide them with an excuse to continue producing it for another 20 years, or as long as TV is still around.

I haven't watched the Simpsons on any kind of regular basis for at least 15 years now, and would urge other folks to drop it from their viewing schedules. It's gone on far too long, and if the producers won't end it, at least we the audience can put an end to our prior attendance to show we can't support this awful propaganda anymore.

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It's embarrassing when a Jewish college organization wants to host Brian Bendis

The Cleveland Jewish News had a brief report that Bendis, now notorious for ruining the Avengers and Superman, is being hosted by the Hillel student organizations in a webinar:
Cleveland Hillel and Greater Portland Hillel are joining forces with Hillel@Home to host a free conversation with award-winning comic book writer and artist Brian Michael Bendis at 6 p.m. Oct. 20.

Bendis, who grew up in University Heights and attended the Hebrew Academy of Cleveland in Cleveland Heights, is best known for creating the Ultimate Marvel Universe. He lives in Oregon.

During the conversation, Bendis will discuss what it takes to succeed in the comics and graphic novel industry, tell stories from his career and answer questions from attendees.
What are the chances he'll admit it was distasteful to put Scarlet Witch, Tigra, Spider-Woman and Jean Grey through some very revolting storylines? That casting Spider-Man and Wolverine in the Avengers was cheap and obvious? That canning Superman's secret identity was another mistake? Alas, such chances are almost non-existent, and I've got a feeling that, if anybody tried asking him questions pertaining to any of those elements he used, they'd be cut off from the upcoming webinar, no matter what the above states. It's regrettable they're wasting time with such an overrated writer, but as I've long realized, hardly a shock when academia considers these kind of people the most recommended.

And it's unlikely Bendis will actually admit the reason he's gotten as far as he has in comicdom is because he answers to all their requirements for political correctness. That's how he succeeded in playing his part in ruining established franchises.

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Friday, October 16, 2020 

Two months of DC will be wasted on replacing the Trinity of superheroes

UPI's got information on DC's next predictable cheap resort to crossovers, this one serving as an excuse to put substitutes in the place of Superman, Batman and Wonder Woman:
DC Comics announced on Thursday a new line-wide event across its comic books, titled Future State, that will give a glimpse into what happens to Batman, Superman, Wonder Woman and more characters in the future.

The two-month event will begin in January and will consist of multiple limited series' and one-shot specials that coves what happens in the DC Universe in the near and far future.

Future State happens in the wake of Dark Nights: Death Metal where the fabric of time and space has been shaken loose. DC's stable of heroes will be placed in new roles with new characters taking on iconic mantles.

Batman has been killed in the future as Gotham City is placed under control by the Magistrate, a villainous regime. An all-new Batman will rise along with a new group of Gotham heroes to fight back.

Superman, after being rejected by Earth following an international crisis, has headed off into space where he comes into contact with Warworld and Mongul. Jon, Clark Kent's son, becomes the new Superman of Earth.

Diana Prince's status is unclear, but inside the Amazon rainforest Yara Flor is chosen to be the next Wonder Woman and will eventually join forces with the new Superman.
While Superman seems to be getting replaced by the son created for him a number of years back, what are the chances Batman and WW are going to be replaced by diversity tokens? Well as this IGN report says, WW's substitute will be a Brazilian:
DC fans can expect multiple incarnations of Wonder Woman to take part in Future State, though their respective stories won't all necessarily unfold at the same point in the DC timeline. One of them is a brand new addition to the DCU - a Brazilian heroine named Yara Flor.

"We will eventually discover that there are connections to the other tribes of the Amazons that we have established," said Rich. "Yara does have some connection to the Amazons, and part of what we'll discover in her origin is what activates her position, what makes her Wonder Woman at this time. She's from Brazil, but was an immigrant to America. There's also that element of her story. Even though we'll see her currently active as Wonder Woman, eventually we'll learn what her origin is - partially her figuring out what that means, where she's from, why this is her, how she relates to Diana, how she relates to the other Amazons."

"Joelle was looking at Yara as - she is new to this," continued Rich. "Her humanity is still very much intact and very much important. From a reader standpoint, what does that mean for me when I look at this character? Diana Prince is a goddess, so she's always a bit above us. This is a chance to sort of get back to some of the early roots of Wonder Woman where Diana was trying to be human and trying to learn how to be human. Now we're going the opposite way - how does a human learn how to be a goddess?"

But even as Future State establishes Yara Flor and her relationships with her fellow young heroes, Future State will also spotlight the Amazonian warrior Nubia and even Diana Prince herself. Rich teased that we'll see the original Wonder Woman fighting at the very end of time, quite possibly the last surviving member of Earth's golden age of heroes.
Forget it, the whole premise of the crossover is already laughable. If they had to introduce a new cast member, it was entirely possible to do it in a stand-alone story, and not rely yet again on the cheap excuse of a company wide crossover. The most recent moment I can think of where a similar approach was taken was after Dark Nights: Metal, where at least a few new protagonists were introduced and soon after got their own, untested ongoing series instead of miniseries (Silencer, Sideways, and a new character named Damage, et al). Predictably, they were all cancelled within a year or so. What the writers and editors behind this new crossover are doing is little different. Undoubtably, they're trying to see if they can make certain things stick, even though the way they've long gone about their PC-pandering has been disastrously stilted. Earlier in the article, it says:
"There's so much to do going forward, and so we want to give the readers a couple of months where you will see all these potential possibilities, all of these stories that could evolve out of the current DCU with the familiar characters getting older, finding themselves in new situations or new versions of the same characters as the DC legacy continues to evolve," Rich told IGN. "It's really just two months of us letting our creators go wild and be imaginative, while also laying some seeds and some groundwork for what you're going to see coming."
And what would that be? More sloppy pandering? It's not hard to guess they don't have a clue where they're going, and if they really wanted to let their imaginations go wild, all they had to do was produce a self-contained adventure that didn't interrupt their standard publishing schedules. It's obvious this has publicity stunt written all over it, one of the biggest problems with how it's marketed.

And even if diversity replacement's not the intention, the company wide crossover itself is reprehensible on the grounds that it only takes away the ability to tell a stand alone story with individual characters (not that whatever stories they've published in the past decade have been worth the effort, of course). Worst, as SyFy Wire reports, it's going to involve the usual suspects in scripting:
Current DC Comics storylines will hit the pause button in January to accommodate Future State's massive publishing line-up, which will be split into stories covering the Batman Family, the Superman Family, and the Justice League Family. The talent involved in each Future State book will be a mix of current DC talent — including Brian Michael Bendis, Mariko Tamaki, and Joshua Williamson — and "new voices from the worlds of TV, movies and animation" including John Ridley, Brandon Easton, and Paula Sevenbergen. The DC storylines occupying the current books will pick up again in March.
That's still no excuse for interrupting whatever goes on now, just for the sake of something that could've been written as a stand-alone event unconnected to the ongoing series proper. It brings to mind the overrated Age of Apocalypse storyline in X-Men from 1995, where the present was substituted by an alternate "reality" in which Prof. Xavier was accidentally killed by his son Daniel instead of Magneto, who ends up as a leader instead, until Bishop manages to set things right again. The failure to make most of these stories self-contained in separate specials, if they truly have to be told at all, is exactly why modern superhero comics lack merit.
So, beginning next year DC Comics is launching a massive new effort that hopes to appeal to both new readers and old, something that seems to have grown out of the long-discussed idea to deliver a new generation of heroes and a new DC timeline, but which doesn't make that necessarily permanent. What are the implications of this timeline on the "present" of the DC Universe when it returns in March? How many of these creative teams will stick around in the wake of Future State? Will more Future State-set stories follow? We can only guess for the moment, but strap in, because one thing we know for sure is that this trip to the future will definitely be a wild ride.
Oh no, not with Bendis on board it won't be. Here's another example of something where audiences would do well to vote with their wallets and avoid all parts of the coming crossover entirely, to make clear we don't accept this joke anymore. If they wanted to, they could hire all the staff and talent needed to produce successful ingredients. Instead, they remain affixed on making their comics all stunts all the time, which only enforces the perception they're lacking organism in their storytelling.

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Thursday, October 15, 2020 

Warren Ellis' Castlevania cartoon built on politically correct elements

Since Warren Ellis has been something of a notable subject these past few months, due to the allegations of sexual misconduct made against him by women whom he'd dumped, I discovered the following comment made on Twitter about the Netflix Castlevania cartoon adaptation he'd served as senior writer for, and if even half of this is correct, it's little different from various other examples of entertainment mangled for the sake of PC: Hmm, and this is what Ellis was working on in the past 3-4 years? Well...at least it confirms he's no less pandering than any other SJW to come around the bend. Following this, I did some searching, and found this CBR piece from a few months back, which has quite a lot of slobbering over its PC elements:
Netflix's Castlevania certainly pushes the envelope when it comes to politics, religion and sex, which is no surprise given that the thought-provoking Warren Ellis is the chief architect behind the series. Through the Forgemaster Isaac in Season 2, we saw an intriguing intersection of race and homosexuality as reasons why he wanted to harm humanity, after years of abuse from being viewed as "the outsider."

Season 3 follows up on the latter theme, using LGBTQ relationships as a window onto Castlevania's world, and while it's a stance that's a bit strange at times, it ends up being very powerful when you analyze the depth of what Ellis is trying to convey.

Firstly, with Alucard, we have the bisexual Japanese siblings, Sumi and Taka, who wanted to train under the handsome son of Dracula to kill monsters. They forge a close bond but by season's end, they seduce and try to kill him during sex as they feel he isn't giving them the weaponry and proper mindset to go hunting creatures. Now, we can understand if you're weirded out by the incest in this sequence, especially as Castlevania doesn't censor anything, but hey, we've watched the Lannisters on Game of Thrones for years, so this is a walk in the park by comparison.
According to a message written in the comments section, available through the article on CBR proper, Sumi and Taka aren't related and the animation director also confirmed this. If not, then as PC as the cartoon does appear to be, CBR's staff have once again proven they're unqualified for this job. As for whatever Ellis was conveying? Little different from the rest of a social justice agenda, and it wouldn't shock me if Forgemaster Isaac was a metaphor for right-wingers. At the end of the article:
In fact, both of Castlevania's LGBTQ arcs in Season 3 are intimate and personal in nature in a way that shares a perspective on the good within people. At the same time, though, they're also about course-correcting the bad when you leave evolution up to hypocritical humans who inevitably become the same monsters they claim to fear.
So LGBT ideology is how good is conveyed here? Why not with heterosexuality? This is certainly dismaying so much money was invested in turning out something pandering to sleaze. Here's a game designer who commented on how the cartoon turned out:
So we had 3 seasons of non-gay Alucard, who is also supposed to be true to the game series (no gay/bi there as well). Then suddenly on the pre-epilogue episode of the 3rd season they dropped the bomb.

The whole portrayal of Alucard as passive homosexual is also quite controversial to the image of his father – Dracula, the godfather of the vampires. Dracula was about to kill all humans on Earth just because they killed his wife – he was very true to the classical family values and was never portrayed in the show as the perverted type.
I figure this must be the common trick today: keep the first season apolitical, then let loose with all the social justice elements as it goes along, leading into a bait-and-switch situation. And yet, as this Women Write About Comics entry states, the 1st season had quite a bit of gore to show off:
What makes this short first season so enjoyable, though so little happens, and makes for such a great adaptation is that it’s not really the video game at all. It takes the important themes and runs wild with them. The dialogue is reminiscent of the notably awkward game speech, but elevated thanks to Warren Ellis’s writing and spot-on voice acting. The art is different, but equally as striking and aesthetically-focused. And there is blood. So much blood and guts and gore and eyes hanging from brick buildings. It’s fantastic.
Oh, no doubt about that. It sounds like what we have here is further confirmation that graphic mayhem has become grossly acceptable in these PC circles these days. Indeed, there don't seem to be many arguments now about whether entertainment's become too violent and put far too much emphasis on the same. Nor is there any argument about whether today's youth are being corrupted by this type of belief in what should constitute great art and showbiz.

As awful as this cartoon based on a video game franchise first begun in the late 80s sounds, it clearly didn't ensure Ellis wouldn't be consumed by his fellow leftists, seeing as the allegations have pretty much crippled his career, and, it looks like the recent scandal did indeed cost him his role as chief writer for the cartoon. The lesson here is that liberal pandering won't guarantee immunity from serious allegations for long, and sooner or later, a SJW's most questionable acts will come back to haunt them.

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Tuesday, October 13, 2020 

Bendis is not a reason to want to enter comic reading

A writer at Cleveland magazine, who only recently got into comic reading, wrote about a notable specialty store in the city, and tells why or how he got into the habit:
A minor twist of fate brought me here. I came late in life to comics. My wife, Delia, had read them for years. I didn’t until fall 2018 when I began working on a profile of comic book writer Brian Michael Bendis for this magazine.

Bendis had just taken over writing Superman, and curiosity drove me to delve into the character’s back story. I read books about how Superman and the modern superhero comic were both created in Cleveland, and went deep on the Superman comics themselves. I found something special in those pages, a love I still find difficult to explain.
Bendis is why he got into this? It's always the wrong people cited as an influence. And if the writer's only reading the newer stuff, as the following suggests, I'm not sure what he means by "love":
“Hi Sheehan,” he said, like he always does, but this time through his mask. “How you been, man?”

I lied and told him I’d been OK. He didn’t pry, and instead reached into the file folders and pulled our comics — Action Comics No. 1021, Lois Lane No. 10, Aquaman No. 58, Superman’s Pal Jimmy Olsen No. 10, and some others I don’t remember — and laid them on the countertop.

Seeing them, I thought: How many times have I stood here? How many times had I been excited to read stories like these? I picked them up, paged through to glimpse the colorful illustrations, held their weight. They were small, very ordinary things. But they made me feel normal for the first time in months.
I don't know about the Jimmy Olsen issue, but that Action Comics issue is certainly one of the newest, and the Lois Lane issue must surely belong to the newer series written by the overrated Greg Rucka. The Aquaman issue is likely also new. In that case, I'm wondering why such writers never seem to research and write about the older stuff? It's just hugely disappointing how they always go the easy route, profiling the most obvious choices along the way, all because Bendis is a Cleveland native. What's so great about Bendis that isn't so great about Louise Simonson, who'd worked on Superman in the 90s? Bendis has, in a short amount of time, lowered the bar on the Man of Steel's reputation in comics, and it may not be possible to mend it at ease before the possible collapse of DC that could be coming sooner or later.

It's great to say you're a Super-fan, but citing a writer as awful as Bendis suggests the journalist's choice for which writers' work to read is very narrow, and does little to ensure they're really in this out of dedication to what made Superman and other comics work best in the past.

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About me

  • I'm Avi Green
  • From Jerusalem, Israel
  • I was born in Pennsylvania in 1974, and moved to Israel in 1983. I also enjoyed reading a lot of comics when I was young, the first being Fantastic Four. I maintain a strong belief in the public's right to knowledge and accuracy in facts. I like to think of myself as a conservative-style version of Clark Kent. I don't expect to be perfect at the job, but I do my best.
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