Tags: DC Comics, Final Crisis
This entry was posted on Tuesday, June 9th, 2009 at 12:00 am by Brandon Hanvey and is filed under Comic.
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June 9th, 2009 at 6:00 am
Oh, I feel Josh’s pain. I tried to explain the return of Barry Allen to a non-comic book reading friend with a little more depth than “He used to be The Flash, then he died, and now he’s back.” There was a lot of “did I just say that out loud?”
But, I figure I owed him. He goes on and on about how the grant-writing process at his job. Like THAT’S so important.
June 9th, 2009 at 7:05 pm
All because nobody at DC thought to just treat the parallel Earths like seperate imprints. How many of those does DC publish now?
June 10th, 2009 at 5:54 pm
Excellent. My wife is about to read FC because she read Morrison’s Batman trades and wants the continuing story of Batman, and I can foresee a scene like this happening.
June 11th, 2009 at 3:12 am
it sound super stupid but i love it anyway.
June 13th, 2009 at 2:34 pm
Love the strip and usually your assessments of the genre are spot on, but I can’t help wondering where this devotion for Morrison’s Batman and Final Crisis comes from, other than the fact that we apparently “have” to like anything he spits out in order to be considered seriosu intellectuals. Animal Man, Doom Patrol, his Vertigo stuff- that’s great writing. Batman and Final Crisis are JUST the same fanboy narcissism that you bemoan in other books. How does one reconcile the view that Superman being “written out of the silver age playbook” is bad, but “Batman being written as though everything that happened in the 1950’s works” is good? And what about telling an actual story, for once, rather than a story about stories? He did that perfectly, one (Animal Man)- now he seems stuck on a treadmill. Just because a writer is great doesn’t mean we should automatically treat everything he writes as great. Love the work- not the man.
June 13th, 2009 at 2:35 pm
Correction for clarity: “One should love the work, not the man.”
June 17th, 2009 at 8:34 pm
The real problem is that almost ANY property with a deep continuity – whether it be superhero comics or no – tends to sound mind-bogglingly stupid when you try to explain it from scratch to someone who knows absolutely nothing about it. That goes for most long-running independent comics, most fantasy and sci-fi series (both books, TV shows, and films), and so on. Hell, talk to someone who’s been watching soap operas for years and try not to laugh as they try and explain backstory to someone who’s never seen a single episode before.
Generally, anything that’s been around for a while, has an audience that pays attention to continuity, and is completely unknown (or sometimes, even worse, slightly known) to someone else is going to seem ridiculous when you try to condense it down into a concise explanation, no matter what it’s about or who’s writing it.
July 1st, 2009 at 7:53 pm
See, stuff like that is exactly why I love superheroes. ^_~ Only in superhero comics can a yellow fear monster be responsible for someone going on a killing spree. Only in superhero comics can we have cowboys, aliens, sorcerers, pirates, and mad scientists all interacting and it’s perfectly normal.
Our lot loves the lavishly ludicrous. =3