Who's Who in the DCU

Tim, can you offer any consolation for me about the impending demise of both Manhunter and Solo? Is it because I love the books so much that they’re doomed?

I know it feels that way sometimes, Mathan. Lord knows I’ve thought the same thing now and again. Ultimately though, it is all just the random cruelty of the universe. We aren’t being singled out because we love so much. The universe is not looking to hurt us, it just does. Cold comfort, I know, but there it is.


IP Music did a whole feature about First Impressions.

IP Movies has some nifty reviews!

IP Games is full of Next gen systems.

IP Figures is much more than just a hobby, it’s a passion.

IP TV has recaps of finales and peeks at the future!

IP Sports continues to have NBA Playoff thoughts.

Moodspins is the place for deep thoughts..

IP Culture is damn ass classy!

Our DC Forum has thoughts on Supernova, 52 and Manhunter’s end.

Tim, are you linking this week?

I would, but…I…just can’t. Think of it as a moment of silence for fallen titles.

What I Read Last Week

52 – I really dug this issue. I liked that the kidnapping of the DCU brains has begun. I dug how Booster is back to his old self. I dug how Black Adam is taking over. It’s also got me interested in Ralph and Steel.

I’m not really ready to draw any conclusions about this series, one way or another, until issue #4. Then, I feel like I’ll be used to the rhythm and better able to judge it. For now though, first impression wise, I judge it…decent.

Nightwing #120 – What? I dig the Dick/Jason stuff, but how could Jakob have ever sounded like a decent character? I’m curious how this will play out.

Teen Titans #35 – I’m way not keen on the Doom Patrol, but Robin and Ravager was entertaining. Cassie and Tim’s moments were touching as well. Decent issue.

The Robin/Ravager nude handcuff scene was a tiny slice of humor heaven.

Captain Atom #7 & 8 – Great book! I so love how Cap is still DCU even in the Wildstorm U. His battle with Midnighter and Apollo was brutal, but great.

Jonah Hex #7 – This is the best book written by Palmiotti and Gray.

Battle for Bludhaven #3 – And this is the worst. This issue made me even dislike the Titans. This book might possibly achieve Showgirls levels of badness.

Showgirls was bad. This is worse. Why? No Elizabeth Berkley on Kyle McLachlin swimming pool sex.

Albion #5 – I dig King of Crooks. I loved how he rationalized his actions. I can’t wait to see how next issue ends.

American Virgin #3 – Glad to see that Adam has finally become a man, kind of. This book has certainly taken a darker turn, especially with the addition of the merc to the cast. I’m still enjoying the ride.

Ex Machina #20 – It was nice to see that Mitch was wrong on this one. Just because he’s in a comic, doesn’t mean that comic book logic applies. I truly do love this book.

Mitch? What are you guys, buddies now or something?

Firestorm #25 – I’m glad to see that Jason had a fanboy moment in his encounter with Batman. I’m equally intrigued by Stein’s apperance, which it seems ties into 52. And the cover is great as always.

Bite Club VCU #1 – The shift in narration this time around is kind of jarring, but getting reacquainted with the cast of characters was fun. Hahn’s art has certainly evolved, in a good way. I’m glad that we get to revisit there characters in another mini.

Sadly no one placed the lyric last week, thus I get to decide whose questions get answered!

Booooooooooo to the readers, yay for Mathan seizing control.

Neil can’t quite figure out time travel. Silly boy, it is all SO easy.

Mathan, did I miss something along the lines? We now know that Melanie Thawne is Owen Mercer’s mother, because Digger was brought forward to her time.

So how did Digger get back and more importantly, why is Owen living in the 21st Century?

Is it just me, or did Geoff leave a lot of dangling plot lines with this one?

You’re completely right, I do think this is yet another unresolved plot from Geoff John’s run on The Flash.

Now in Geoff’s defense, he did land the big uber huge (Ahh, redundancy) gig of writing Infinite Crisis as well as helping plot and write 52 so his plate became incredibly full. He couldn’t be expected to write those two titles, JSA, Teen Titans, Green Lantern and The Flash, that’s just absurd.

Still he did leave quite a few danglies out there for us fans to mull over.

But the question does come into play; is Owen really a danglie from Geoff or from Brad Meltzer? After all Owen first appeared in Identity Crisis, and Geoff fleshed out his origin. Maybe Owen is a type of “chain character” where he is passes through a series of writers and each writer gives him a bit more depth.

This does appear to have some story potential. Given that Owen is currently appearing in Outsiders there’s a chance that the “whys” and “hows” will be cleared up on those pages. Personally I’m betting that we get at least a taste of an explanation when Boomer Jr. guests in Robin in a few months. I’d imagine that Owen will feel the need to explain why he’s gunning for Tim and during that exchange he’ll delve into how Digger made the trip to the present with Owen in tow.

You should be aware that Tim and I have pitched DC a ten part biweekly series entitled Captain Boomerang: Father of the Year (or The Courtship of Owen’s Father). The story follows Digger as he tries to adjust to being a time lost single man in the 30th Century and his various dating mishaps (“You spilled Silverale on my on my holovid!”) only to find out that he’s destined to be with the woman providing him shelter (Melanie Thawne). It’s kind of like Back to the Future, only without all that creepy incest stuff. (What’s the point without the creepy incest stuff?) Oh and issue number seven features the Legion of Substitute Heroes! (Nevermind, I’ve found my point).

Tim, do you think that DC will ever get around to filling in the blanks on Owen’s past?

There’s probably about a 50/50 shot that might revisit it, but I kind of hope they don’t. Time travel is usually a mess and only seems to get worse (not better) the more we try to explicitly spell it all out. I prefer a little ambiguity. Or rather, it has never bothered me before and unless DC is going to green light Mathan and I’s series on the topic, I’d just assume remain blissfully ignorant.

In the future, this is sexy.

Aaron wishes death upon others and that’s just not polite.

‘K…I read Batman Annual #25. I read the first OYL issues of Nightwing. Sorry, but I just can’t get behind this “resurrection” of Jason Todd. The explanation, by the absurd standards of comics, was actually plausible (in an implausible way), but I can’t be the only one in hoping that he goes back to hell really soon. Is there some plan in place for the Todd character/storyline to get resolved, or is he essentially back in the DCU to stay?

“They’re only words,” Jason reminded himself as he bit back bitter tears following Aaron’s caustic remarks.

Hate to say it Aaron, but I dig Jason Todd and I hope he never goes away again.

Now to put it in perspective I remember when Jason Todd died (hell, I remember when Jason tossed a dude off a balcony a few issues previous), so I remember what a big deal his death was.

Still, I’m really digging have him around. I dig how in death he reminded Bruce of his failures, but now that he’s alive he not only reminds Bruce of his failures but also of what Bruce could become if he crossed “the line.” I like how Jason thinks that he’s doing the right thing and considers Bruce weak. I love how Jason is a thorn in the side of the Bat Fam (particularly Tim and Dick.)

It’s interesting to have a member of the Bat squad go “rogue” and to have Bruce rationalize pulling his punches. I can’t even say that I completely disagree with Jason either, if I had a choice between “saving people” (what Bruce does) and “cleaning up the streets” (what Jason does) I might side with Jason.

Speaking of that, Jason also provides a nice contrast to play against for Batman. Sure we all think that Bruce is dark and pessimistic, but Jason is darn near nihilistic, which makes the Dark Knight brighter be default.

You aren’t alone; some fans hate the idea of Jason being back from the dead. I just happen to be of the opinion that the reintroduction of Jason Todd shakes up the status quo just enough to make things interesting. I don’t even care how he came back, the fact that he’s back is cause for celebration, because he came back onto the scene in the perfect manner.

Tim, care to offer your thoughts on the resurrection of Jason Todd.

I feel like I’ve belabored this enough in this column so I’ll just quickly summarize. Tim Stevens pre-Under the Hood would say, “Are you kidding me? Could DC be any more creatively bankrupt?!” Tim Stevens post- Under the Hood says, “The why of his return was pretty darn weak, but I really enjoyed his return in the pages of Batman.”

Bill L. defies nature!

I love the work you guys do, but until now I’ve never had a reason to write in, but that changed a few days back when Robin decided to start cloning Superboy. It got me thinking about successful Superboy clones, like Match. I remember him showing up in YJ Sins of the Youth, but haven’t heard of him since. So is there any word on him.

There’s a chance that Match could come into play in the return of Connor. However, if you believe that Connor’s demise had more than a little to do with the legal action surrounding “Superboy” than it might all be moot.

Y’see there’s a theory going around that Connor was killed off because of the legal quagmire around the rights to Superboy. And if that’s the case it’s not really a matter of Tim’s success at cloning, but rather legal battle that will decide if Superboy returns to the DCU.

Since I’m one of those who believes the rumors, I’m guessing that Robin’s attempts at cloning were a bone tossed to the fans to A) let readers know that Tim really missed his friend and was trying to bring him back and B) to let readers know that Superboy could possibly return at some point down the line. I wouldn’t be surprised if we rarely ever visit Robin’s lab and it’s kept on the backburner.

But back to Match; he is out there somewhere and could return. But without a his counterpart to contrast him, is there really any point? Clearly he knows at this point that Kon is dead, so what does he have to prove? Unless he returns masquerading as Kon, I can’t really see any reason for him to return.

Besides at this point aren’t you tired of evil Superboys?

Tim, are you interested in Match’s return?

I’d be interested in exactly how that guy (see picture at left) thinks he would be able to masquerade as Superboy (super hair dye, perhaps?). Otherwise…not really. Unless it is a tragedy in which Robin thinks he has succeeded in bringing his friend back only to discover his error as Match tears apart (emotionally or literally or both, I’m not picky) the Teen Titans from within. Sort of a “The Return of Barry Allen” for the teenage hero set.

Aaron is a Seduction of the Innocent unto himself

“The Comics Code Authority”…does that even exist anymore? I remember years and years and years ago how every comic had that small square symbol on the front, indicating that it had been “approved” or something. I also remember the brief controversies when the “code approval” wasn’t on the front of a particular issue. Is there even a need for such a function anymore? Just wondering…

The Comics Code Authority was set up as a direct result to the infamous crackdown on comics following Fredric Wertham’s Seduction of the Innocent which claimed that horror comics were detrimental to children, who happened to be the majority of comic readers at the time.

Rather than face government regulation, comic publishers created the Comics Code Authority to make sure that comics were safe for kids to read. Initially banned from comics were horror mainstays like werewolves vampires. Over time the CCA evolved with the times and allowed drug use within the proper context and horror elements were allowed back in.

The 1954 code read as follows:
“¢ Crimes shall never be presented in such a way as to create sympathy for the criminal, to promote distrust of the forces of law and justice, or to inspire others with a desire to imitate criminals.
“¢ If crime is depicted it shall be as a sordid and unpleasant activity.
“¢ Criminals shall not be presented so as to be rendered glamorous or to occupy a position which creates a desire for emulation.
“¢ In every instance good shall triumph over evil and the criminal punished for his misdeeds.
“¢ Scenes of excessive violence shall be prohibited. Scenes of brutal torture, excessive and unnecessary knife and gunplay, physical agony, gory and gruesome crime shall be eliminated.
“¢ No comic magazine shall use the word horror or terror in its title.
“¢ All scenes of horror, excessive bloodshed, gory or gruesome crimes, depravity, lust, sadism, masochism shall not be permitted.
“¢ All lurid, unsavory, gruesome illustrations shall be eliminated.
“¢ Inclusion of stories dealing with evil shall be used or shall be published only where the intent is to illustrate a moral issue and in no case shall evil be presented alluringly, nor so as to injure the sensibilities of the reader.
“¢ Scenes dealing with, or instruments associated with walking dead, torture, vampires and vampirism, ghouls, cannibalism, and werewolfism are prohibited.
“¢ Profanity, obscenity, smut, vulgarity, or words or symbols which have acquired undesirable meanings are forbidden.
“¢ Nudity in any form is prohibited, as is indecent or undue exposure.
“¢ Suggestive and salacious illustration or suggestive posture is unacceptable.
“¢ Females shall be drawn realistically without exaggeration of any physical qualities.
“¢ Illicit sex relations are neither to be hinted at nor portrayed. Violent love scenes as well as sexual abnormalities are unacceptable.
“¢ Seduction and rape shall never be shown or suggested.
“¢ Sex perversion or any inference to same is strictly forbidden.
“¢ Nudity with meretricious purpose and salacious postures shall not be permitted in the advertising of any product; clothed figures shall never be presented in such a way as to be offensive or contrary to good taste or morals.

Marvel abandoned the CCA in 2001, when it opted to create its own rating system. At this point there are relatively few DC books have the code logo on them, most notably the Super titles (Superman, Action Comics and Supergirl), some Bat titles (Batman, Detective Comics) and Teen Titans.

The industry has sort of outgrown the need for the CCA. With the advent of DC’s Vertigo line, a line devoted to “mature readers”, comics realized that there was a market for adult readers. Furthermore, where as comics used to cost a quarter, they now cost upwards of three dollars, putting them a bit out of the average child’s price range. Parents are most likely going to have an idea what their kid is reading, since they’re supporting the habit.

I’d also say that society has probably moved beyond the CCA. Not only do kids have much more high tech forms of entertainment, but throughout the media, be it video games, music videos, music, movies or television shows, everything is much more explicit and vulgar than anything that happens in the DCU.

Tim, you’re an expert on the mind; can you think of anything images from the DCU’s recent history that could prove damaging or traumatic to any kid short of an Amish one?

What, you don’t think a rolling severed head (Pantha) is traumatic for a child?

Truth be told, the Comic Code, like most ratings systems, have little to do with what will or will not be traumatic or damaging for a child to see and more to do with a parents acute fear of their child be “corrupted” by outside influences. EC at its height was still not too much for children of the era to read, enjoy, and still be able to tell the difference between that fiction and reality. Parents then, as parents now, however, have usually forgotten what their childhood was really like and look back on it through rose colored glasses as an age of beautiful innocence and endless rainbows of joy. Thus, their children’s childhood must be the same and the way to do that is to ensure they never see anything the slightest bit torrid.

There is also the “not in my day”-itis that strikes many parents. This is the belief that somehow today’s kids are marching toward Gomorra and if only things were more like yesteryear, children’s morals would be saved. They think this, perhaps, because they have forgotten how life was before the Civil Rights Movement or during the late 60’s era of “free love” and unrest or the decadence and drug use of the 70’s or the greed of the 80’s. Every era is different, not every era is better.

Sorry…I have little tolerance for the “think of the children!!!” madness that seizes parents and politicians and the inherent hypocrisy of decrying the attitudes and hobbies of “kids these days.”

Logan supports a seven day waiting period on all superhero gun wielding

Ok, first off I’m pretty sure that Batman was cocking the gun, otherwise what’s the point of the scene? Diana stops Bruce from pulling the trigger. If he pulled the trigger, then what does Diana save him from?

Batman his been pushed to the brink, to the point that he’s willing to use a gun and shot someone in the head. He’s on the verge of doing it and is talked down from the edge by reason.

But if he’s already pulled the trigger, there’s no tension, and Diana isn’t intervening. She’s observing. However Diana is telling Bruce that crossing the line isn’t worth it, and she should know; she made a similar decision and it cost her everything. That’s what makes the scene so poignant.

Is it within Bat’s character to get to that point? Yup. Alex is the mastermind behind everything that’s been going on and is indirectly responsible for Superboy’s death. Batman knows what it’s like to lose a ward (Jason Todd) and he doesn’t think that Superman deserves to go through the same thing. Superman upheld the law when Batman tried to get vengeance against the Joker for Jason’s death. And while Batman knows that Superman is above taking Alex’s life, he knows that deep down inside Kal there’s a part of him that wants revenge. Batman is willing to give Superman that piece of mind (plus Nightwing had been caught by Alex’s blast, and since Bruce and Dick had reconciled, this was pretty personal.)

But don’t just take my word for it. Back in my day we had this tale from Batman’s past called Batman: Year Two. One of the heaviest moments in the tale is when Batman faces down Joe Chill, reveals his identity and puts the gun that killed the Waynes to Chills head. I’m not going to ruin it for you, but even though it’s not continuity anymore, it’s a pretty solid read. Plus it features Todd McFarlane art, and who knows when you’ll see that next.

Tim, do you think that Bruce was pulling the trigger or cocking the gun?

I agree, it has to be Bruce cocking the gun, otherwise there is no point to the scene that follows. However, Logan is not wrong to question it as the art and sound effect combine to give a scene that is easily interpreted the other way. Newsarama had the same problem as did many blogs.

I’ll also say that while I think you are right on about what the scene was hoping to accomplish, Mathan, I question whether or not it actually did. I thought that the moments leading up to Batman snapping up the gun were gamely constructed. However, after that, the scene simply unfolded too quickly to draw us in and build tension. Plus, Wonder Woman’s about face on killing feels too pat and motivated by her self involvement. The message was not, “It’s not worth it to kill because it is wrong,” it was, “It’s not worth it to kill because everybody gives you a bunch of crap about it afterwards.”

Roger knows his thermodynamics

Help me! I’m reading Infinite Crisis #7 and I see Superboy-Prime using his super-breath on some of the Green Lantern Corps. IN SPACE?!?!?!? I know it is a comic book, but how does that work? The temperature in space, unless you are close to a star, is pretty damn cold. And there is no moisture (hell, no air) in the vacuum of space to freeze. Is this just a super-power associated the the big “S” family that I don’t know about? It’s freaking space! Please help, I’m so confused!

Oh this is easy, he’s from another universe. The same reason why our kryptonite doesn’t work on him is why he’s able to freeze GL’s.

Not buying it? Ok, I’ll give it another shot.

Well I had to look this one up, but apparently the temperature in space is usually 2.725 K. Given that it’s not Absolute Zero, Prime does have some room to work with. Furthermore, you’ve got think that the GL’s ring will protect them for the temperature in deep space with ups the temp in their immediate vicinity, or even within their aura, a bit.

And while I don’t know too much about Kryptonian physiology, I do know that when humans expel air little bits of moisture come out as well. It’s gross to think about, but you aren’t just expelling air. I’m guessing that it’s the same for Kryptonians. So that accounts for the moisture.

Thus, with that moisture plus the base temp for space plus the elevated temp around the GL plus his actual “super breath” I don’t find it too hard to believe that the Green Lanterns were frozen.

And as a matter of full disclosure, I don’t really care about the Lanterns who died. If it was John Stewart or even G’nort, I might have a larger problem with what happened. However since that’s not the case, I’m not really going to question the logic behind their deaths.

Tim, d’ya think that the Green Lanterns should have died or is it beyond the stretch of even comic book physics?

If you think about it, nothing is really beyond comic book physics is it? I mean, to even get to where the GLs were chilling in space, Superboy Prime (and those chasing him) would have to be traveling faster than the speed of light. And that, of course, is impossible. Except in comics.

I know there is a line where suspending disbelief becomes too much, but if you buy a Superboy who can fly at the speed of light, rant in the airlessness of space, change reality by punching it and carve a Superman symbol into his chest with his fingernail despite being devoid of superpowers at that point, then should super-breath really upset the apple cart?

Aaron thinks villainy should be awarded through attention.

So, I heard that DC did a brief run with Eclipso as the main character of his own book. Are there any current villains out there who could make their own title work. And, while your at, how would you write the first storyline to bring in them readers?

You want me to do just one? I’ve got a plethora of ideas floating around in my head. The idea that I’m going to use is actually one that’s being recycled.

I had originally dreamed up the idea of a solo book for Gizmo of the Fearsome Five (this was before the returned and died on the pages of Outsiders). My idea was to have Gizmo retired from the game and leading a normal life. He’d have taken advantage of the tech boom in the last few years to develop gadgets. He’d have established quite the respectable life.

Sadly Gizmo returned to his life of crime and died, thus my idea went away. However I happened to find a complete run of Aztek on Ebay, and that caused me to revisit the idea, only in the place of Gizmo is Fixit.

Like in my original idea Fixit has gone legit and has a respectable life. However some of his friends from his old days (I’d give him a history as a cook that had him as a member of a team that brushed up against the Justice Experience) come back looking to put the band back together again. Fixit wants no part of it, so they begin to take his life apart bit by bit. (Obviously this team was supposed to be the Fearsome Five, but what are you going to do?)

With nothing keeping him in Vanity, he goes on the run to avoid his old team. In some places (Keystone) the criminals there side with his former teammates which allows us to see how resourceful he is (he’s like a slightly criminal MacGyver). In other places (Opal) he gets some refuge (the Shade respects his attempt at reforming.)

The storyline ends with Fixit being forced to kill the leader of his former team, which causes the team to leave him alone, however it puts him on the radar of the heroes of the DCU and its bounty hunters. Fixit is always on the move taking odd (sometimes criminal) jobs to keep afloat and trying to stay ahead of the law. Will he buckle under the pressure and return to full time crime? Can he manage to convince his would be captors that he’s on the straight and narrow? Who knows?

Obviously this is just one of the many passing ideas that I’ve had. And equally obvious is that nothing will become of it. Hell, with Manhunter and Solo both getting the axe I can’t see DC taking a risk on anything right now. Plus it’s not really fully formulated, that’s pretty much just the rough draft of an outline.

Tim, do you have any criminal ideas?

Just the usual. Arson. Murder. Embezzling.

Oh, you mean do I have any ideas for villain stories. Ahh, I understand now. Sorry.

I think there are a lot of great super villain books that can be done. Geoff Johns mentioned once or twice how he’d love to do a Rogues ongoing or mini at some point and I think that that would probably be most excellent. I know I’d buy it.

As far as ideas that I can dream up, I probably have a few. The first that springs to mind because I just read his New Year’s Evil issue is Prometheus. This could either work as a mini or the first storyline of an ongoing. The basic pitch is “Prometheus Begins”. We trace his origin story as the anti-Batman more closely, delving deeper into the broad strokes that Morrison laid out for him. We begin with his parents’ final confrontation with police and end it moments before he leaves his house (lair?) to erase Retro and take his place. It’d be cool.

The other one that springs to mind is a Royal Flush Gang book that takes the perspective that the Royal Flush Gang is like any other modern gang, full of competing agendas, love triangles, and shifting alliances. The opening arc would be the Jack’s machinations within the organization finally getting him what he’s always been striving for: the Kingship. From there, it becomes an illumination of the old adage “Be careful what you wish for,” as we see the former Jack (now King) attempt to wield his power and suppress rebellion in the ranks.

Other villains I think could support a mini or maxi (an ongoing is much harder to swing because of the possibility of rendering your villain more of an anti-hero. Venom, anyone?) are Two-Face (just imagine a story told entirely from that shattered perspective), cult leader Brother Blood, the Calculator, Vandal Savage, and Killer Croc.

Aaron deviates from the norm

Subjective time…Mathan Erhardt is known in the music zone as a guy who doesn’t exactly conform to the mass produced pablum that is today’s music industry. Just wondering if there are any writers, artists, titles or storylines that the fanboys absolutely LOVE, but that Mathan HATES or, to a lesser degree, finds vastly overrated. Does Math ever zig, when everyone else zags?

You mean apart from all that stuff going on at Marvel?

Damn, Marvel, you just got put on blast!

There have been plenty of times that I’ve disagreed with folks. Let’s take things on a case by case basis;

Guy Gardner – I don’t understand the allure. Granted I’ve only got his JLI and GL(C) appearances, and none of his solo stuff, but I really don’t get why he’s got such vocal fans. Every time he comes up in the column I make a disparaging comment and get tons of feedback. But I’m really not a fan of Guy Gardner.

I’d concur with the lack of understanding on that front.

Suicide Squad – I was reading comics in the 80’s, but I never picked the book up. This series has some truly ardent fans (and they all seem to frequent our forums.) I’m not eager for a relaunch. I don’t care if it ever returns. Yet the book was pretty popular at it’s peak.

I’d disagree here.

The Hush Storyline – I didn’t think it was that great. Isn’t it pretty easy to make a popular Batman story when you utilize a different Bat foe every issue and feature the supporting cast throughout the run? Hush’s identity was telegraphed from the start making it so obvious that he couldn’t possibly be Tommy Elliot, yet that’s just who he turned out to be (apparently the writers for Nip/Tuck were taking notes). It sold because it was a fanboy’s wet dream (hot artist, drawing iconic characters), not because it was truly a quality piece of work. Speaking of that…

And agree, once more, here.

Jim Lee, actually the entire Image Bunch – Yeah, Jim Lee’s work is solid, but he’s not even in my top ten list of favorite artists. The big Todd did some innovative work on Spider-Man but that whole drooling elongated tongue Venom can be directly traced to him through Erik Larsen. And while I dug Larsen’s work on The Doom Patrol, he hasn’t really evolved that much in the last decade. I think that Image was what showed me how foolish the majority really is.

On a related note here are some things that I loved that but most fanboys hated or ignored;

DC’s Focus Line – Some really creative takes on becoming a hero. They were all solid books that just never had a chance because they weren’t heroic enough.

Devin Grayson’s run on Nightwing – I didn’t hate it. I actually enjoyed it. Was it all pretty all the time; nope, but that was what made it all the more enjoyable. I didn’t know what was going to happen next, Dick Grayson wasn’t safe and he was undergoing some serious life issues. I thought it was risky and daring and certainly worth the price of admission.

Judd Winick’s run on Green ArrowSome people have been pretty vocal about how much they dislike Judd’s run. I’ve been kind of enjoying it. Granted for the most part we’re coming from two different perspectives (an Arrowhead vs a regular comic reading Joe Average), but people have been bashing Judd’s work on that title since he began. I’m not saying that they’re wrong, just that I disagree.

Broken City – The storyline that immediately followed Hush left a bad taste in may folks mouths, but not mine. I dug it. Granted I’m an unabashed Azzarello/Risso fan, but I really did enjoy the tale. I thought that it was certainly more fulfilling than Hush and more visually stimulating too. Sadly most fans disagreed with me.

And there you’ve got it Aaron, those are some instances where I’ve deviated from the popular consensus.

Tim, have there ever been any times that you’d disagreed with the tastes of the majority of fanboys?

Well, Judd Winick, in general, I think catches entirely too much crap for his writing. I’m not saying everyone should like it, but the man is not nearly as bad (in fact, I reckon he’s usually pretty good) or as repetitive (the whole gay/AIDS rap on him) as his critics would have you believe.

Most of the other stuff that I like and others might not is less a matter of them hating it and more a matter of them not acknowledging it. Those titles included Manhunter (now), Bloodhound, Chase, Aztek, and Human Target.

As far as what people liked that I could never seem to understand, we’d have Superman/Batman which sold crates and crates worth of books but failed, for me, on almost every level of storytelling. Then there is a CoIE which I respect for what it accomplished, but, overall, find a bit boring. Also on the list would be Preacher, a series I enjoyed, but often found myself off put by its excesses whereas most comic fans found that to be part of its charm.

Sadly that brings us to the end of another column. To make matters worse, by the time you read this, I’ll be in Iowa for a wedding. “How is that worse” you ask? Well I’m on vacation, so there probably won’t be a column next week. But rest assured we will return in two weeks with brand new questions and answers, including quite a few involving Infinite Crisis.

Feel free to email me your feedback or post it on our thread.

But before I go, allow me to ask you a question; Now that a few issues of 52 have come out, what’s your opinion of it thus far?

“Do you like the way I talk, do you like me at all?”