#i think a lot of comic fans also like to use hating on lex (who is very easy to hate on)

[luthwhore]

Waaay too late to the party, wanted to write back when you made the post about the twitter thread complaining about possibility of Lex being redeemed and forgot 70% of what I was gonna say, but I agree. Beyond personal preference, my argument is that the big part of the character and his dynamic has always been the "You could've used your genius for good" tragedy, and that just doesn't work if he's written as the evilest man on Earth. Might as well talk how sad it is Darkseid ain't running a utopia. I get how that can get unfomfortable with "He's a BAD billionare instead of a good one, which would be the best thing ever", but I think it can just as easily be framed as "he chose to be a billionare instead of a scientist"-hell, the vigilante thing fits into that pretty well!

exactly!! and tbh the fact that lex isn't an irredeemable monster is honestly one of the most interesting things about him? lex seems himself as a hero and he wants to do good, but ultimately his own ego usually ends up getting in the way of it, because he's usually more concerned about how other people perceive him than the actual effects of his actions.

there are also only so many stories you can tell that are "superman vs a super evil guy who has a lot of money and keeps buying his way out of trouble" and eventually, it's going to get boring and repetitive, esp bc it's disheartening to see superman lose over and over again.

his story is far more interesting, imo, when there is some kind of emotional stake for superman. when you have a superman who sees a sliver of good in lex, no matter how small. that's part of why i like seeing stories where lex is contrasted with the joker, because lex -- at least when written well -- has standards and isn't usually interested in harming civilians.

(probably the thing that will make me groan and tune out of a lex story faster than anything is seeing him referred to as "a sociopath", both bc i feel like it's a gross misrepresentation of his character, and because I'm personally really tired of seeing personality disorders tossed around as pejoratives.)

i think it's also very telling that -- at least in my observations -- people who care deeply about superman lore tend to prefer pre-crisis and superman: birthright lex over the byrne-era, whereas most people who want lex to just be the evil CEO -- or worse, who want him to be "updated" into just being a musk parody -- tend not to be people who actually read his comics or engage with superman lore in any meaningful way.

there's a reason, imo, that most superman content from the 2000s onward has been trying to retcon lex to be either closer to his pre-crisis iteration or closer to smallville, and that's bc those are the versions of the character people actually... you know... like.

[punkeropercyjackson]

Punk Percy Jackson headcanons but by an actual punk instead of someone who thinks skateboarding is an aesthetic

So first off this will include my Pjo self-insert Lex de los Santos since i'm a book!Percy selfshiper(and Walker is my little guy so expect lots of appreciation for him on this blog too)and if you're gonna be hateful of that,please just scroll past thanks!Now lets get into it:

Always had the punk mindset as seen in canon by her being anti-authority,rebelling against all corruption she sees and being extremely protective and loving towards younger minorities

But was too poor to afford the clothes and piercings and such.Didn't bother him though since he cared more about acting and thinking punk than looking it

Thalia was his first real experience with the subculture headon and that's a big reason why he admired and was lowkey jealous of her along with a bit of gender envy

Goes to protests with and does charity work with Rachel

And she buys him a bunch of punk stuff(From punk bussinesses ofc,otherwise what's the point)

Learned to DIY so many things it's a running gag

Riot Grrrl and Mcr fan-Also not punk but stans Megan Thee Stallion,Ice Spice and Lo-Fi beats too.Also really likes Green Day!!

The specific types of punk Percy is are afropunk(i hc them as half afro-dominican and half black-greek),seapunk(NOT because of Poseidon but because of Sally)and either crustpunk or pastel punk depending wether we're talking her as a bigender transfem and a misc between masc and fem presentation or her as a super femme trans woman.Not for gender roles reasons obviously because that would be ridicioulous but i just think that their lives would be significantly so that leads to a few differences in personalities and tastes

Persephone Ameila has comics!Starfire hair and dyes her faded from gray to white streak sea blue to blend in,Perseo Isadore has dreads and keeps his as is because Lex finds it hot.Here are illustrations of them by @honeypotsworld and @leo-thecactus using bases from the Pjo graphic novels!!

Straight edge

His autism definitely contributes to how how he approaches punkness.Examples include how blunt he is in it and a funny one is that he loves googling the most bizzare ass sounding and/or looking foods to make and eat and calls it 'sticking it to the man' and Lex encourages and joins on both

Their patches jacket has spikes on the shoulders and pockets and frills around the collar and his patches are the dominican,autism and trans flags,the anarchy symbol and ones to represent his most important people-A black mermaid for Sally,a pink rose for Lex,a skull for Nico and a yellow diamond for Hazel.It has a good handful of pins and his collection is ever growing but his favorites are the cat one and the Riptide one Lex made him

Goes on estrogen but light dosages and for a short amount of time compared to full transitions and gets no surgeries.Wears makeup too(*Insert the putting makeup on your gf redraw meme but with Perlex*)and has a tongue ring,an eyebrow piercing and forward helix on both ears

Radicalized Nico and Hazel,who are now goth punk and pastel goth punk.The three of them and Lex are known as 'The Outcast Godlings' because of the usual treatment Hades and Pluto kids get that the first two were no exception to and Percy's and Lex's feelings of isolation and otherness even after getting to Camp Half Blood,all of which were thankfully resolved by the the end of Hoo and the begining of Tales of Dead Seas(My fansequel to it that happens instead of Toa and has them as the mcs)

Exclusively buys his video games and consoles and legos secondhand due to being anti-capitalism

Killed Luke in TLO not only because of being the hero of the prophecy but also because no actual punk wouldn't unalive a fascist who was also a serial ped0phile the second they got the chance.She made sure it was extra painful too and even had Nico use his soul erasing power we saw in BOO on him

Owns a pair of colbat blue and black demonias that Beckendorf got him which are a little tight on him now but he wears them anyway to remember him by

Them and Lex make clothes for Nico and Hazel with Sally's help and play the Team Parents role for them in general♡

Perlex is punk4punk but Lex is pastel punk and solarpunk!!They go on punk dates like going to concerts together in matching outfits and skateboarding and rollerblading in their opposites aesthetics board and skates and defacing public property together <3 Also Percy has the cocky flirty punk guy thing going on you usually see in male characters who are but it's a Lex exclusive

@angel-beloved @floof-ghostie @gummywormlimbs @biandbored

[regular-ordinary-human]

One thing that's always frustrated me as a fan of superhero comic books, specifically several DC characters, is this notion the secret identity of various heroes is obvious, actually, and people don't understand why nobody has noticed [x] is [y].

The problem I have with this is that it absolutely fails to take into proper consideration that we, the audience, are viewing the events in the comics from essentially an omniscient third-person perspective. We know the truth because we watch it happen. We're specifically given that information. Without us, the readers, knowing these details, the narrative becomes more difficult to follow. However, the conclusion that someone's identity is "obvious" falters whenever you approach it in-universe.

Let's take a look at some examples-- again, from a far more in-universe perspective.

Superman is, by all accounts, a beefy dude. He's ripped to hell. He's got great hair. He can fly-- what the fuck, I can barely get out of bed some mornings-- and he can somehow have bullets just bounce off his chest. I had a friend in Metropolis who told me that Superman was around their car, and after a gunfight, one of those bullets bounced off that "S" on his chest and popped a tire on her car! But he seems like a nice dude. I remember hearing one time somebody said they saw him talking to this girl who was gonna jump off of a building. You hate to hear about people getting that way, but I'm glad he was able to talk her out of it. I hope she's doing better now.

But you're saying this Clark Kent guy is Superman? Are you nuts? Look at Clark. Okay, yeah, he's got black hair. Lots of white guys have dark hair. Lots of white guys also just kinda look similar. That's nothing new. But the dude is clumsy, and awkward. Yeah, he looks like he's probably a bigger dude, but somebody told me that he grew up on a farm in friggin' Kansas or something, so he probably did a lot of farm work. And he probably goes to the gym. People can do that, y'know.

Oh, you've "never seen Clark Kent and Superman in the same place"? I've never seen the Pope and Lex Luthor in the same place, either. You think Lex is the Pope?

Plus Clark Kent wears glasses. I ain't seeing Superman flying around wearing a pair of glasses-- or a pair of, like, prescription goggles like some basketball players wear. You tell me that Clark Kent, reporter for The Daily Planet, wears fake glasses to help conceal the fact that he's Superman?? Do you know how absolutely ridiculous you sound??

You're reaching on this one. You're absolutely reaching.

[mistress-of-vos]

brudick for the ask game? or aztim if you haven’t done them yet

I'm gonna do both one after another, I hope it's okay!

AzTim:

SHIP IT!!! 💕💕💕

1. What made you ship it?

I think I could talk so much about how I picture their relationship and why I think there are many homoerotic tones in their relationship but mostly I got obsessed with them due to Knightfall presenting an scenario where Tim is the only bat around who is concerned about Jean-Paul and who is facing the mess next to him. The fact that in a certain way it was Tim who *made* JP Batman got me whipped.

2. What are your favorite things about the ship?

Their messy past! Knightfall is such a delicious event and I adore that JP and Tim have a lot of things only they know and only they lived. JP was the very first person to cover for Bruce as Batman, and Tim was barely begining as Robin. Tim WAS JP's Robin, and I don't think ppl talk enough about the feelings they would about it. Plus JP has a lot of catholic trauma and guilt which I think would make very hot if he dated an agnostic queer Tim.

Plus something something Batman/Robin rp

3. Is there an unpopular opinion you have on your ship?

As with Ra'sTim, it's mostly about the characters themselves. My perception on Jean-Paul is that he is a complex person, with trauma and pain, and I picture JeanTim as a complicated situationship. As much as I love dark scenarios, I don't really lean into making it abuse for the sake of it. For me, it's a relationship that is born after years of yearning and messy feelings, longing and hidden desires.

BruDick:

Ship it! 🤭

Certainly not the ship I'm known for but I like it!

1. What made you ship it?

Probably how kind the fandom is; opposite to other Batship fandoms, BruDick fandom has shown to be extremely nice and respectful, something that encouraged me to interact a little with their content, and I loved it. Bruce and Dick might not be my favs but I adore their trope as a ship and I think they CANONICALLY have an homoerotic subtone. There's a reason Batman & Robin were used as gay code for so many years, and ir was due to Bruce and Dick and their marriage!

2. What are your favorite things about the ship?

Definitely the fandom. As I said, ppl on BruDick fandom are extremely nice. You can open a fic or fan comic and not be worried about unnecessary hate because they don't rely on that. In fact, many BruDick media treats other characters with kindness and respect as well: It's so comforting to see BruDick fandom being so respectful to Bruce's female love interests in canon, as sexism is sadly a problem in BL fandom. When I see BruDick, I don't have to swallow the bitterness of seeing sexist stuff, or hate towards other bat children.

Also BruDick introduced me to the idea of Tim being their bio son and that makes me feral 🙏

3. Is there an unpopular opinion you have on your ship?

Probably not? I usually agree with most of their depictions. I personally don't mind if they're messy tho, because I see characters as dolls. If anything my problem is that I'm very bad at writing Dick because he is an awfully human character (he's not as frozen into an archetype as Tim, Jean-Paul, Ra's, Jason, Kon, Lex) which makes him a headache for me because I struggle trying to imagine how he would feel like. Hence why I mostly do BruDick as background and not as main in my fics.

[disniq]

Heya, I was wondering if I could get a quick comic book rec. I've read RHaTO Vol. 1 up to issue... 27 I think it was? (Basically the first 4 volumes) ans RHaTO Vol. 2 up to issue 18 (end of Vol. 3)

Are volumes 6 & 7 of RHaTO vol.1, Red Hood & Arsenal, volume 4 of RHaTO vol.2, and Red Hood: Outlaw, worth a read?

Hi Anon! I apologise in advance because I was very verbose in answering this yes or no question lmao.

Disclaimer first, because RHATOs is always gonna be written by Scott Lobdell, so it's always gonna be at least vaguely misogynistic and full of heavy handed abuse apologia because Lobdell is a misogynistic abuser. That said, if you can stomach that, there's usually *some* merit to most of them.

(and, just to be clear, I am certainly not recommending you *pay* for any of them 🏴‍☠️🏴‍☠️🏴‍☠️)

So, RHATO vol. 1.

Volume 5 is actually one of the better ones imo, it finishes up the story from volume 4, and then has a few self-contained stories focusing on Roy and Kori individually (so depending on your opinions of nu52 characterisation ymmv). Bonus points for this adorable panel;

Volume 6 and 7 are a really weird mishmash of main plot about Kori doing space-drugs (which is unsurprisingly lacking in any nuance, making it especially frustrating when the book also features a recovering addict and a guy who grew up surrounded by drug users), their nu52 origin stories (which are retconned again in Rebirth anyway), then there's the bizarre little Christmas issue (which I don't hate), and the weird flash forward issue (which I *do*) that is also retconned out with the Red Hood/Arsenal run so. These two are entirely skippable for me.

Red Hood/Arsenal

There are only two volumes of this, and if you managed rhato vol. 1 then this is fine. It's a lot lighter in tone, even if I'm not a big fan of the Joker's Daughter plot in volume 2. Personally, I think this run is worth it just for the jayroy dynamic - genuinely don't know what Lobdell was going for but he accidentally wrote a gay sitcom. I mean seriously, look at this break up scene;

RHATO Vol 2.

I canNOT believe I'm saying this, but you should probably read through this one. #25 (MY BELOATHED) is actually the conclusion to the Bruce and Jason trust arc of early rhato rebirth, and as much as I hate the direction they went with it, it does fit with the general state of Jason and Bruce's relationship in rebirth. It also seems to be the jumping off point they've used for more recent interactions (Cheer and TFZ).

Red Hood: Outlaw

Volume 1: Requiem for an Archer. So, this is the start of Lobdell's shameless projection onto Willis Todd, and naturally they skip right over any consequences of Bruce beating the shit out of his kid AGAIN, but I actually quite like this one. It's nice to see Jason work competently alone, and I think it does a good job of letting Jason's grief breathe, after the chaos of everything in the previous volume. Also, this is where he meets Dog and she's a good girl.

Volume 2: Prince of Gotham. I like this one too, actually. Jason gets to wear his fancy little suit and be clever and calculating, he gets to actually use his criminal links for once, and it's the biggest fuck you to Bruce since utrh imo. I hate the random ass non-plot point of Jason suddenly having a public civillian ID again, but that nonsense is worth it for this scene alone;

Volume 3: Generation Outlaw. This one... I like in theory lol. Jason gets to be a teacher, I think putting himself between Lex Luther and a bunch of impressionable young metas is something he would do, and one of the kids is a non-binary entity (it's a little ham-fisted, but I never say no to more enby characters!) HOWEVER. The writing takes a turn again here, and where Jason was clever in the last one he's now a bit of a bumbling idiot being outsmarted by a bunch of kids. The Artemis and Bizarro plotline is weird and a but pointless, but they are back by the end of this volume, and it contains the one jaytemis kiss that I like (because they both hate it lmao. wlw mlm solidarity).

Volume 4: Unspoken Truths. This is just out and out bad. The writing goes from bad to worse, Isabel is dragged back for absolutely no reason other than Lobdell wanting his blorbo JT to be surrounded by women he's slept with at all times, the art is terrible. There's a single Joker War crossover issue which is meaningless without context, and also drags Joker's Daughter back up AGAIN, and it ends with the Outlaws breaking up again because Jason isn't allowed to keep any friends ever.

ANYWAY. All of that was a complete non-answer because it really does depend on what you like and don't, but I hope my rambling at least helps a little!

[thevindicativevordan]

Why isn't Nightwing a bigger deal? He has all of Batman's skills and Superman's faith in humanity and is arguably the most beloved hero in the DCU, but most people seem to know him either as the leader of the N̶o̶t̶ ̶J̶L̶ Teen Ttians or just Robin.

Thank you for asking me about Nightwing, I've been wanting to write a piece about him for a while now. The short version is that everyone who claims Dick becoming Nightwing was him "moving out of Batman's shadow and becoming his own man" is completely wrong.

Dick Grayson is a fantastic character, someone who saved Bruce Wayne in-universe both by forcing Batman to grow up a bit, and the countless times he saved Batman's life as his partner whether as Robin or Nightwing. Dick saved Batman in the real world as well, hard to believe but Batman was actually in danger of being cancelled due to poor sales early on. Enter Robin, a young daredevil audience stand in the creators hoped would get kids interested in reading Batman. And it worked! Sales on Batman doubled once Robin showed up which is crazy to think about, but Dick Grayson has always been a popular character. Cartoons like Teen Titans, Batman: The Animated Series, and The Batman only helped grow his audience.

Character-wise, Dick Grayson really does fill a number of crucial roles in the DCU. For Batman, Dick is proof that Batman is a positive force. Meeting Batman helped change Dick for the better, helped him heal after his parents died. With Dick, Batman can take comfort in knowing that yes, he has made a difference in the world for at least one orphan boy, which is all he wanted when he lost his parents himself. To the wider DCU, Dick is a friendly face who convinces others that Batman is competent and not a complete asshole. He took this kid in, trained him to be one of the best heroes the DCU has seen, and did it all out of the kindness of his heart. That someone like Dick can confront the evils of Gotham and not break means there's still hope for that city. As Robin, Dick has led the Titans and is an icon in his own right as The Sidekick, the original, the one every other Robin is built around copying or contrasting. The one all other superhero sidekicks are drawing on as a basis. As Robin Dick Grayson is very much on Batman's level.

Just not as Nightwing. As Nightwing, Dick has been a second rate Daredevil which means he's a third rate Batman (fully prepared to get hate for this but I've read and enjoyed the Miller and Bendis DD runs so I feel entitled to my opinion). A typical Nightwing run tends to go like this: Moving to Bludhaven (which is Gotham... but WORSE!), Dick Grayson usually enrolls in a pointless job we don't care about in order to provide some meaningless soap opera drama that doesn't go anywhere. Patrolling the city as Nightwing, he fights a variety of bad guys who are usually rather lame and unthreatening, with his big bad being a Kingpin knockoff called Blockbuster. Villains are fought, long running plotlines are set up, then everything is abandoned because it's Batfamily event time, and Dick has to run back to Gotham in order to play sidekick again. Usually his involvement is completely superfluous and it would've been better if the writer had gotten to opt out. By the time we finally get back to Nightwing's solo plotlines, the audience has usually ceased to care and the run gets cut short.

That's how Nightwing has been since the New 52 at least. Anyone who thinks that's "becoming their own man" is out of their mind. Dick is so thoroughly in Batman's shadow that he got shot in the head and spent a longer time as "Ric" which everyone fucking hated and sold like shit, than he did as Agent Grayson which was extremely well-received. Reiterating: Ric went on longer than Grayson because of a fucking Batman plotpoint Tom King wanted where Bruce was sad and cut off from the Batfamily because of Dick getting shot. Not just calling out King either, how many times was Kyle Higgins Nightwing run derailed because of Scott Snyder's crossovers? Or how about that entire run getting dumped to the side because Johns wanted to out Dick during Forever Evil, a Justice League/Lex Luthor story? DC has repeatedly made their contempt for Nightwing clear, he's Batman's sidekick still in their eyes, and he serves whatever story role the Batman writer wants.

Hell his best stories tend to have been the ones where he's not Nightwing. He was Robin in a good chunk of the Wolfman/Perez New Teen Titans run. Morrison really showcased his depth as a character when they wrote him as Batman, their time with Dick under the cowl was actually one of the first Batman runs I ever read, and no Nightwing run has ever matched it in terms of quality in my humble opinion. Scott Snyder's work with DickBats also was a high point for the character, showing Dick as competent and examining his relationship with Gotham and the Gordons. King and Seeley gave him one of the best comic runs with Grayson, a series where he wasn't even a "superhero" technically! When it comes to actual pre-New 52 Nightwing runs that are highly recommended where he *is* Nightwing, there's Chuck Dixon and uhhhhhhh... Tomasi's brief run before Dick became Batman? It's not exactly an overwhelming list.

Look there has been good work done with Nightwing, I'm not claiming there hasn't been. Tim Seeley wrote a great run with Nightwing Rebirth. Seeley fleshed out Dick's Rogues Gallery with cool new ones like Raptor, he brought back old foes like Dr. Hurt (why oh why couldn't you have brought back Flamingo too?), he gave Dick's world some character it solely needed. Bludhaven under Seeley is pretty much the only time I've really felt like it lived up to being Dick's city.

The problem with fictional cities is you have to put in the work to give them the character of real cities. You have to make the cities feel like characters in their own right. Gotham is the best example of this, it's a character all it's own, one that tells you a lot about Batman and his cast. In contrast Bludhaven is usually one of the worst. Any place that wants to claim to be worse than the city that is built over the gate to hell and gets wrecked every other month by the Arkham freaks has to really put in the work to compete. Simply put, Bludhaven typically fails utterly. There's nothing about it that makes you really buy it's worse than Gotham, I mean does anyone really think Nightwing's Rogues wouldn't get their lunches eaten by Batman's? No, no one genuinely buys that. When Bludhaven claims to be worse, it just comes across as tryhard, an attribute that does end up telling you about Nightwing in unintentional ways.

So Seeley didn't do that. Instead he created a city built for a hero like Dick Grayson. Someone who is bright and flashy, but does have an element of darkness to him. Someone who loves the spotlight, but often uses it to obscure. Seeley turned Bludhaven into Las Vegas, and that was the fucking best concept for Bludhaven I have ever seen, it makes so much sense. Las Vegas is the "Entertainment Capital of the World" and isn't that the perfect city for a hero who got their start working in the circus? Isn't the aesthetics of the gleaming casinos, the glamorous sex appeal of the performers, and the spectacle of the shows, all being used to cover up the seediness of mob bosses meeting backstage perfect for Nightwing? It's so utterly unlike New York City, yet Las Vegas is still dangerous, it's got a crime culture all it's own. Seeley used it to great effect, as did Humphries during his brief run, and I will always be pissed that DC didn't continue to use it. That should have stuck around and been the definitive look for Bludhaven.

How Seeley's take on Bludhaven was treated feels like a small scale version of how Nightwing in general gets treated. Whenever creators pitched ideas for him, if editorial thought there was potential to break big, they asked for those ideas to be repurposed for Batman instead. Anything big or good gets repurposed for Batman or tossed to the side so Nightwing can go back to his default: having irrelevant adventures in a city that is supposedly worse than Gotham but can't live up to it. Just like how Nightwing is supposedly better than Batman but never gets to show it. Goddamn it's so frustrating seeing his potential get wasted like that.

The Nightwing book should be one of DC's most ambitious books in terms of storytelling. You can go from traditional superhero stories, to romantic soap opera, to spy stories, to crime noir, to horror, to cosmic adventures, and ALL of them would fit because Nightwing is someone who has a foot in both Gotham and Metropolis. He's got friends everywhere on every team, and has been a hero longer than most Leaguers have at this point. No reason DC should still be afraid to let him loose and insisting on hewing close to what Dixon established almost over 30 years ago is only holding him back. At the very least get him some better Rogues, why the hell didn't he get to keep Professor Pyg? That's Dick's villain not Bruce's! Bullshit that they didn't let Dick keep him. Hopefully Flamingo comes back, with a slight revamp I think he'd make a great reoccurring Nightwing Rogue.

Luckily it does look somewhat like Nightwing fans have reason to be optimistic. While Taylor isn't to my taste, DC clearly views him as a "big" writer, and that they put him on Nightwing says a lot. Taylor has been selling well so far, so hopefully he gets to tell his story, hilarious that even he lampshaded having to write Dick running over to Gotham for another tie-in after Taylor's big opening arc was all about Dick committing himself and his money to Bludhaven. Scott Snyder is apparently working on a Black Label Nightwing book which will explore how he's a different detective than Bruce. The Gotham Knights video game has him as one of the main stars, and while Titans is... controversial, it's one of the most popular streaming shows and Dick is the main character. There's a lot of content coming that features him in the starring role, and that will only help his star rise further.

For the first time in, well, ever it feels like DC may be serious about elevating him. Time will tell if it pays off, but I for one choose to be optimistic that the 2020s will be a turning point for Dick Grayson where Nightwing becomes hugely popular in his own right. Not just as Batman's sidekick.

[sedge-yells-at-comics]

Reprinted below, in case the link implodes.

Flash #27 Reveals Why Reverse Flash Is a Truly Unique Villain                

The finale of "Running Scared" provides a gut-wrenching Rebirth update to one of DC's most complicated villains: Eobard Thawne, the Reverse Flash.

By Meg Downey Published Jul 27, 2017               

If you’re a fan of the Flash, you’re probably pretty familiar with the concept of the Reverse Flash, a man named Eobard Thawne who, like Barry, has super speed and wears a flashy costume. Of course, the “Reverse” might sound like he’s the literal opposite of the Flash -- maybe someone who slows things down instead of speeding himself up? Or maybe someone who runs backwards?

There are a lot of obvious and incorrect guesses pretty readily available for casual or newer fans to throw darts at. The reality of the Reverse Flash is, however, pretty complicated. Mostly because his “reverse” status is actually ideological at its core. Flash media, be it print, animated or live action, has traditionally made this apparent by painting Eobard as someone who is essentially pure evil -- a sort of manic, time traveling serial killer who is motivated solely by his endless need to destroy Barry Allen from the ground up.

At that point, the problem then becomes finding a way to make Thawne’s homicidal drive, well… unique in the scope of the DC Universe, a place that just so happens to be populated by enough over-the-top villains to populate a decent sized Midwestern town. Why is Reverse Flash someone that’s specific to The Flash? What differentiates him from any of DC’s other iconic arch rivals, like Lex Luthor or The Joker?

Well, The Flash #27 has the answer, and it's probably not the one you expected.

Running Scared

The rebirth of the “classic” Eobard Thawne (as opposed to his New 52 revamp) began in the Flash/Batman crossover mini-event “The Button” back in April, a four-part storyline which connected the original Thawne to the events of last year’s DC Universe: Rebirth one-shot.

Since, then, Thawne’s taken up residence as a perpetual thorn in Barry’s side in the hero's own ongoing series, stepping directly into the spotlight for the three-part “Running Scared” arc which served to highlight Thawne’s Rebirth status quo. For the most part, it’s a story that fans will be pretty familiar with, borrowing heavily from elements of stories like The Flash: Rebirth and Flashpoint. Thawne’s from the future, he time traveled to kill Barry’s parents, he’s connected to a negative form of the Speed-Force, and so on -- But that’s where things start to get their Rebirth-specific legs.

It’s not that creators Josh Williamson, Howard Porter and Paul Pelletier are trying to reinvent the proverbial wheel with “Running Scared” -- just unlock a different side of it by shining a light on one of the most unique aspect of Eobard and Barry’s relationship.

Reverse Flash doesn’t hate Flash the way Lex Luthor hates Superman, or Bane hates Batman. It’s actually (appropriately) quite the opposite. It’s the reverse. Eobard Thawne loves Barry Allen, obsessively and vengefully, which is where his endless, destructive need to ruin Barry’s life comes into play.

“Running Scared” highlights the fact that a young Eobard grew up alone (though Williamson was quick to confirm that that particular story element came out of an earlier Geoff Johns Flash issue) with only his idealized and imaginary version of Barry -- a character from his history books -- to keep him company. Barry was, for all intents and purposes, Thawne’s only friend, confidant, and emotional anchor, despite the fact that the two of them wouldn’t actually meet for years and years.

It was plenty of time for a very troubled and very lonely Thawne to fall in love with a version of The Scarlet Speedster that existed only in his imagination...and, well, it’s pretty obvious how that particular emotional endeavor actually went down. Actually meeting Barry and subsequently being forced to deal with the fact that he was just a guy and not the cartoon character Thawne had built in his head for years, proved to be too hard a stress test for Thawne’s fragile psyche.

Fatal Attraction

Meeting and being disappointed by a personal hero is a rough experience for just about anyone, but rather than allowing himself to move on -- or even allowing himself to simply decide to hate Barry instead, Thawne’s obsession only doubled down.

As issue #27 hurtles to its conclusion, Thawne’s real motivations become abundantly apparent. As Barry, infected with Thawne’s own inverted Negative Speed Force thrashes Thawne within an inch of his life, he presses him with a question - Why, if Thawne has always been so inspired by him, has he gone out of his way to ruin Barry’s life at every turn? Why has he done all of these terrible things, from killing Barry’s parents to beating Wally within an inch of his life, to kidnapping he and Iris and hauling them to the future?

Thawne’s answer is as unexpected as it is heartrendingly honest: because these horrible things are the only way Thawne understands how to make Barry spend time with him.

It’s that simple.

Thawne’s love for, and obsession with Barry Allen has permeated his life so deeply and completely that he is even willing to count his time spent being pummeled half to death by Flash as a win. He’s completely unable or unwilling to differentiate between Barry’s affection and Barry’s hatred, and he’s ready to do whatever it might take to put himself at the center of either emotion in Barry’s mind.

“A few years ago, it would have really hurt my feelings to hear you say that,” Thawne taunts after Barry threatens him, “but now to think that I caused you that anger? That I could get under your skin like this? It warms my heart.”

It’s deeply troubling, of course, and horrifyingly uncomfortable to get a look into the head of a villain who is, essentially, the personification of a fan gone terribly, terribly awry -- a theme that only gets more difficult to swallow when you begin to think about the increasingly complicated relationship between fans and their idols in actual, genuine, non-super heroic world around us.

This subtle reworking of the Reverse Flash has made him one of comic’s most poignant ruminations of the idea of toxicity in fan communities, idolization of strangers, and self destructive obsession, and it did so in a way that boldly allowed Thawne to win at the end of the day.

The issue closes, and the arc completes, with Barry exactly in the position Thawne wanted him in: completely alone, just like Thawne was as he built Barry into a hero of mythological perfection in his head. Now, where Barry will end up, and whether he’ll be forgiven by Iris, Wally and the roster of people he’s been manipulating as he leads his vigilante double life, is still largely a mystery.

It’s clear that Thawne didn’t expect, or even really want, Barry to come running into his arms to start their life together the second he succeeded in isolating him -- he makes that abundantly clear as he warns that he’ll just return again and again and again, de-powered, killed or otherwise hindered. Iris may have added an exclamation point to the end of the story arc by “vaporizing” Thawne with a Black Hole gun, but it hardly matters.

Reverse Flash will be back, somehow, at some point, and it’s doubtful that his love and obsession for Barry will have wavered in the slightest. We know now that’s just now how his mind is capable of working. It’s unlikely that Thawne will ever feel anything for Barry beyond his own supremely twisted adoration, no matter how many times the Flash pummels him into the ground. It’s just not the way Thawne’s brain is able to process information anymore.

It’s complicated, messy, and uncomfortable, but it’s also one of the clearest articulations of exactly what makes Reverse Flash such an interesting villain in the scope of not just the Flash family of books, but the DCU as a whole.

[bitch-for-a-rainbow]

So there's a blanddcheadcanons post that says that "Kara is the mortal avatar of Rao" and I really don't like it, especially in the context of SG 3x04 (The Faithful). At best, as was pointed out to me by a friend with whom I discussed this post, the House of El is likely blessed and somewhat sponsored by Rao, which probably doesn't do much but produce Krypton's greatest heroes, given what the word "El" **means** in Kryptonian. I'm interested in your thoughts on this (pls post your answer).

    I reject the headcannon solely because if it were true it would mean Coville was right and I fucking hate that bitch.

     In all seriousness, though, this is an idea I've seen a lot and I'm not a huge fan of. I don't know much about Raoism beyond what appears in the show and that which can be inferred off of the show. One thing I would point out though is that El in Kryptonian (while obviously being intended to mean God by the original comic writers) can mean Sun or Stars, and since the Kryptonians in the show are, as far as I can tell, monotheistic, and worshipped only one particular star, the El family is not necessarily named God. It would, however, signify their enormous prestige on Krypton and contribute to the famous El pride (or rather, arrogance). I’m not sure it would necessarily have to mean anything more than that-- that the Els are a respected house who have produced a variety of successful politicians, civil servants, and scientists. And (this time reaching a little bit) that they are perhaps so old and respected that their house name was once a title. 

      There is a certain allure to the theory, for sure. Kara is a paragon character. She always, always does what she thinks is right, regardless of the cost, personal or global, and regardless of what other people might think of it. She has a very direct moral compass, and there are only a handful of times when she doesn’t follow it, all of which involve saving Lena. Ship who you want, but it is notable that Kara routinely prioritzes Lena’s life over that of others given the rarity of that happening otherwise. She never even considered breaking Rick Thompson’s father out of prison when he kidnapped Alex, and all he’d committed was bank robbery. Kara has lines she does not cross (though murder is clearly not one of them). She is a character that has seen some of the worst that sentient life is capable of, has seen more death and suffering than most people could imagine, and she came out of it with an all-encompassing desire to protect others. She lives to give people hope. Plus, the humor of having Kara-- the one person most offended by the idea of being an Avatar of Rao-- turn out to be an Avatar of Rao is great.

       But, I would also say that having Kara want to do good because she is the avatar of a benevolent god is reductive and not particularly true to her character. It is true that helping and protecting people is a large part of the core of who Kara is. But there is a difference between altruism and the self-destructive, bordering of suicidal desperation to save absolutely everyone that Kara practices. And to anyone who doubts the suicidal bit, I direct you to the season 1 finale where Kara literally goes on a goodbye tour because she thinks if she goes out to fight Non she’ll die. She still goes because she has hope, but that hope is that she can at least save Earth with her life. She doesn’t fight because she is certain in the ultimate victory of good and justice. She does it because she more afraid to lose another family than she is to die. Kara doesn’t become Supergirl and risk her own life because she believes in good, she does it because she can’t stand to listen to people suffer-- because she has suffered. To use Alex’s words in 1x13 “You fight everyday to keep people from struggling like you have.” Notably also in 1x13, Kara wakes up from the Black Mercy and her first words are “Who did this to me?” and then she goes after Non in what could arguably be described as a homicidal rage-- a rage that is fueled entirely for personal reasons, not the greater good of Earth (though that comes as an added benefit), which is.... not very befitting the avatar of a benevolent god. 

     A major part of season 1 is Kara dealing with grief and rage. She nearly breaks a guy's arm in episode 6 because he screamed at her for damaging his car, to hell with the children he'd almost hit with it. In season 3's Midvale flashbacks we see her first put both hands through a lunch table, then attack Jake when she suspects him for Kenny's death. She gets better at controlling it as the seasons progress, but during Crisis she very nearly melts Lex. Also not particularly godly of her. 

     Then there is the fact that so much of who Kara is is shaped by fear: fear of the government, fear of humanity, fear of abandonment, and fear of herself. In her civilian life, Kara is, for the most part, unnoticeable. She's polite, soft-spoken, doesn't wear a lot of bold colors or styles, and is often a pushover. As shown by her encounter with Red Kryptonite, Kara would not dress or speak the same way to people without the pressure of hiding her identity (though much of her dialogue is purely the loss of her "don't be an asshole" filter, some of it is stuff she had every right to say before and just didn't). I have always found that episode to be very interesting purely for the fact that Kara doesn't actually seem to be seeking harm on others so much as seeking their attention. Her argument with Alex is almost entirely about how much she hates having to hide and pretend to be less than she is. Kara drops Cat off the balcony and then catches her. She attacks the police when they point weapons at her but doesn't kill or even hurt them that badly, instead of destroying the car they're using as shelter. Red-K removed her inhibitions, made her angrier, yes, but if her goal was to actually hurt people, she could have done so-- would have done so, and with great ease. She goes to a public bar and uses super strength to smash bottles by flicking peanuts. Why do that at a crowded bar? Why not just flick potato chips at the windows in her own apartment?

      This is Kara at her absolute worst-- but does she seek out the DEO agents who shot her out of the sky? Does she go after Maxwell Lord or Non? No. She tries to make people pay attention to her. Her most shameful and hideous desire is for people to give her respect. (Admittedly, respect gained through fear, but still.). Kara's a nice person-- much, much nicer than average-- but a lot of that "nice" is just her avoiding conflict to avoid attention.

      Kara is a good person. Kara inspires people. But that is because Kara gets up every day and chooses to be good and to inspire. It's one of the reasons I enjoy Non as a villain so much-- he and Astra are Kara's narrative foils. They also remember Krypton and grieve its loss. They also were trapped in the Phantom Zone. But where Kara had the Danvers to convince her that some good people existed and would risk themselves just to help others, Non and Astra had Alura sentencing them to eternal suffering rather than helping them save their planet (through the means they thought necessary) and then landed on Earth and found it headed on the same path as the planet they'd just lost. Kara had people to help her grieve. Non and Astra were surrounded by misery. They lost hope. Kara discovered it.

     Kara is the Paragon of Hope because she has been hopeless. Because she has suffered so much, seen so much, and because she chooses to believe in a better future. She didn't have hope her first time in the Phantom Zone. She didn't even have hope for a while on earth. From what we can gather, Kara's choice to start actually believing in the future was a gradual shift that occurred sometime after Kenny's death and has lasted her ever since. For Kara, hope is learned. She chose to hope and she won't let it go, and to assign that incredible victory off to her being a God is an insult to her growth and to her character. 

   Now I personally thought “The Faithful” handled this concept very well. 3x04 is one of my favorite episodes of television in general, let alone in Supergirl. Season 3 is my second favorite season, and that says a lot for its good episodes when the bad of season 3 is so, so very bad (To say nothing of the episode to episode production value, we have the waste of Argo, Mon El’s return as obviously he’s grown he has a beard Mon El, and whatever the hell was going on with Kryptonian genetic engineering eclipse causing witches). To this day I don’t know why Kara had magic dreams. The show did nothing to explain it and I can’t imagine up a reason. 

     But “The Faithful” works because it highlights the whole paragon part of who Kara is. When you realize that every person in the room of Coville’s cult is a person she has personally saved-- that hits hard. Especially since only a fraction of the people she’s saved would ever set foot inside that building with the totally not-creepy, entirely wholesome way they deliver the invitations. (“Your daughter is special. She has been chosen. As have you.”) It works because it focuses on how the average human must view Kara, the ones who don’t see her argue with her sister over potstickers and crush her phone when she gets mad. It works because of how desperately hard Kara tries to be a human. It works because the writers know that we, the audience, do not see Kara as anything but a regular person with irregular abilities: a kind and remarkably devoted person, but not a god. 

[jonroxton]

can you talk about chlark beyond chloe? personally i think it's weird that the writers kept adding kisses and weird romantic moments without any pay off. i don't know much about the fandom back then but i think the writers were baiting fans since clark/chloe seems to be the second most popular ship after clex. second i personally think chloe would never be happy with clark or anyone tbh and she doesn't seem like the type of person who would have kids so the finale was weird to me.

this got looooong :)

0. it WAS weird, and the choice to never not once go for it with them was to the story's detriment. I'll get into it a little later on in this post.

Re: shipping in sv fandom. there was definitely drama (clana was HUGE when the show was airing and every ship was basically derailed by it lol) but I stayed in my clois lane with a small circle of fandom friends much like I do now. a good measure of clois fans were fans of lois and clark from other mediums, come to sv just for lois and clark, myself included. we were pretty insulated as a fandom even back then. I do remember seeing more Chlark after the S5 finale (when Chloe kisses him goodbye), but those dropped off after Jimmy was introduced right away in S6. The most drama I encountered was with Chloisers: Chloe fans who believed wholeheartedly that Chloe was Lois. They hated SV!Lois and were convinced she would die so Chloe could take her name and job and place by Clark's side, thus a Chlark endgame. this was a popular theory amongst that fandom even into s9, when the clois ball started to roll for true.

bait and switch

a lot of Chlark is rooted in this notion that chloe WOULD be the best thing for Clark, the ideal Lois, the true best friend, the human hand guiding him through Earth's troubles. she would be could be the BEST possible lois archetype for Clark. it's not a wrong interpretation. she was specifically written as a lois-and-lana-proxy (teenage lana is a reporter in some AUs and even some as an adult as a tv correspondent) and she's given many lois-ish traits (tenacious, secretly crushing on clark and in denial), but this interpretation is deeply flawed. first, because lois does eventually enter into the picture and she has her own defining traits that, when compared to chloe, make chloe seem much shallower than realized. secondly, within the complete context of the story, her position in the greater narrative is not as ~the one who got away, the way it did very early on in S1-S4, but one who clark tolerates.

they're friends because clark is forgiving and chloe has staying power. their friendship is riddled with insecurities and unknowns the characters create for themselves. their dynamic is defined by conflict, not resolutions. this is not made easy by the fact that chloe is such a strangely written character, but ultimately she is positioned as a counter to clark achieving his happiness. not a thematic narrative foil but an obstacle clark eventually relents to.

2. and it has been so from the get-go

S1 is the best season for them and the single season which actually considers Clark's side in this dynamic. everything about them later on can be explained with how they are in this season. and that's the problem. when they're 14 it's nice teen angst drama and works perfectly to establish the dynamic. when they're 24 it's at best a pattern, at worst regression. we expect certain behaviors, dismiss them too, when it's children, at least I do. clark and chloe never move beyond the dynamic they establish in s1 and early s2. in essence, clark and chloe remain children around each other. they have many discussions in the later seasons that make at least one appear petulant.

so S1 clark has just been told the greatest secret of his existence and he imprints on lana hard that same night (right AFTER jonathan tells him, he meets lana at the graveyard and talks to her for the first time EVER, a lot of childhood imprinting going on in SV). all of s1 follows clark's heartache over lana, watching her from afar and figuring out a way to be near her. this pain is exacerbated by the fact that he believes he caused her her greatest grief: the death of her parents via the meteor shower which he arrived in.

here the first beat of the chlark dynamic is established: chloe's job and passion – the wall of weird and her pursuing the meteor infected oddities of SV - directly affects clark in a negative way (he's suicidal for much of s1-s3). so her crush on him is countered with her unknowingly causing him great grief. om top of that: clark becomes part of this passion of hers and she eventually begins to pursue him as a story to be uncovered, very superman yes. here tho, it causes nothing but strife for them and paints chloe in an awful light (and clark too, highlighting his refusal to open up). I personally enjoy this aspect of them in s1. bc they're so young I give em a free pass and it's a good conflict playing around with old superman tropes, but it makes for a fraught friendship.

3. the second beat

is that neither chloe's crush on clark, nor his asking her to stop pursuing his truth, do anything to stay her. her tenaciousness becomes intrusiveness and inconsideration (many of her accomplishments irt the daily planet are directly bc she betrays clark). she simply will not listen to her friend and does not believe his livelihood and autonomy is worth losing a story over. this is literally the opposite of comics/live action lois lane, who in various versions drops the clark reveal story to protect him. this passion turns vindictive pretty early for chloe, who eventually pursues stories about clark out of jealousy and entitlement (against lana also).

4. the third beat

is that clark doesn't ever see chloe as romantic prospect except this time in s1. the tornado trapping lana pulls him away from any solidifying of the clark/chloe dynamic, and that's that. but we know clark was willing to go for it in early s2 when he apologizes to chloe about running off on her. it's chloe who decides not to go on with the relationship. clark is visibly confused, but also 15 so he can't see that chloe is putting on a brave front to protect herself from clark running off again. I liked this too as it's another play on superman tropes, but my sympathy for them stops here.

5. and stays here

these beats are the entirety of this dynamic. everything about chlark can be distilled down to their childhood. it's why I don't hate them completely, bc I have a lot of love for kids who hurt in such a way and that time is never easy. in s8 (I think its s8) when we get a flashback to when they meet as kids (more imprinting!). little tenacious cute chloe kisses insecure clark bc of the funny awkward tension, acknowledging it, and then immediately takes it back because they're better as friends. (also they’re like 11 lol)

every single romantic moment with them is undercut either by chloe herself, or by the presence of other storylines/romances the writers wanted to pursue. the lack of integrity in chloe and the lack of interest in clark, regardless of how sincere their connection or how messed up, is a central part of their dynamic that needs to be reconciled with their friendship. and its exhausting bc there is never a point they are ever truly comfortable around each other.

6. to a fault

knowing the secret doesn't change chloe's methods. it doesn't make chloe clark's great confidante. if anything, it complicates matters for both because their relationship then becomes about the greater good and clark's great destiny. everything chloe does becomes about that, which in theory sounds awesome, but is executed much the same way as s1!chlark: by reiterating behaviors that highlight the negative aspects of that loyalty and the negative aspects of their characters.

the single time they do actively examine what this loyalty means and how chloe's hero complex complicates things for chlark is with s8 and davis. she protects davis with the skills of subterfuge and secrecy she developed as clark's friend. and it costs her jimmy and a lot of her personal integrity as a character. tho ironically it makes chloe the strongest she's been as a character. this is the first time clark is forced to view chloe as an enemy and he never quite recovers from discovering the dark depths she’s willing to go to. 

it's an arc dealing with the established beats: how far chloe is willing to go for a kryptonian (very far), how much she's willing to do for him (A LOT and all of it illegal), and what it costs her (jimmy). it deals with her jealousy (always second choice) and her motivations (uncovering the truth). this great want that she struggled with for years is turned on its head and examined, revealing just how weird and dark her hero complex is because obviously davis is not clark. davis/chloe served to highlight more than any other arc how it's really too bad that clark never saw her that way, because she has so much love to give and when channeled, it's a great force. only it's a great force for evil. clark has to confront that it’s not just lex but his other closest friend who is willing to go so far. they backtrack hard in s9 and s10 but they keep this underlying wariness in clark towards Chloe throughout. it’s not anything new, but it’s no longer subtext that clark doesn’t fully trust chloe.

7. And that's the rub

in the end. chloe and clark have many storylines they're in together and chloe's important.... to develop clark and as a counter to clark. clark never instigates anything, not once, for 9 years! when the show did give us Moments TM, clark is reacting, not actively making choices to connect to her. if anything, clark is incredibly awkward about chloe when they become intimate. he doesn't seem to know what to do with her crushing on him (the elevator scene is a great one to show just how awkward chloe makes him feel). more than that. clark never tells her his secret. and later on, chloe doesn't tell him half the crazy wild shit she does to protect him bc she knows he would disapprove. I still hold that the only reason they work is bc clark is a forgiving character and would give her chance after chance after chance. that's the watsonian explanation, but the doylist explanation is that the writers just never cared to explore them beyond this point.

8. and what was beyond that point?

they would've been a great counter to lexana in S6 and early clana (clark finally having a gf who knows). it’s playing the clark/Chloe as a straight lois/clark proxy before actually pursuing lois and clark. it could’ve been the precursor to davis and caused an even more personal conflict! the kiss at the end of s5 was their chance. they could've written chlark devolving much the same way lexana did in s6 (or not). but again. the writers never went that far and clearly never wanted to. it kept chlark forever in this stage of childhood friendship always on the brink of collapsing, tittering either way. it's also tough to speculate bc clark's just not into her. in fact he becomes more and more wary of her, to the point where he believes she can do horrible things, and he's right. the stories continually make their methods complete opposite.

they go out of their way to show chloe realizing how happy clark is with lois. and even play a joke on the fandom by literally turning her into lois and seeing the sparks between her friends. it's almost... cruel but it does serve to show how clark is when he's smitten and he's never looked at chloe that way except during the dance when they were kids. other unrequited dynamics have at least some spark from the desired, but nil from clark. clark is into chloe in late s1, but she shuts him down, and when he seems to be into her again (damn that s5 kiss was a good one lol), she shuts him down again. it's just a weird writing choice all around, and that they kept nuggets of it throughout the show is the thing I cringe at most whenever I rewatch.

9. bait and switch 2

with hindsight it is definitely ship baiting and that sucks for that dynamic bc without it their friendship would’ve been the stronger, or at least not full of so much negativity. all it did was remind everyone that chloe’s been duped since she was a kid and that clark is both stupid and strange for never noticing and letting her get away with shit just bc she’s the most loyal. I don’t ship them and even I get frustrated lol

[maxwell-grant]

Downfall of a Dark Avenger Part 2: Shadows of Manhattan

Having finished reading Al Ewing’s El Sombra trilogy and having had enough time to digest it, I’d like to talk about the trajectory of it’s titular protagonist, the character and series’s relationship with it’s influences. Relating to The Shadow and Zorro and general pulp archetypes, and also the way it incorporates Astro Boy’s Pluto into the mix.

This part is focused on Gods of Manhattan and El Sombra’s first appearences in Pax Omega and the ways in which the urban vigilante manifests itself in the books. 

In Gods of Manhattan, El Sombra takes a backseat to it’s central players, Doc Thunder and The Blood-Spider. I’ve mentioned how Thunder, while ostensibly a Doc Savage/Superman amalgam, also combines aspects that allow the character to condense the entire history of the superman into a single being, but to a character very much centered on the future and in progressive ideals, described in the book as someone considered both the city’s ultimate savior as well as viewed as "a faggot, a liberal and a miscegenationist”. In that regard, the Blood-Spider becomes his opposite. Perhaps the most comprehensive savaging of the dark detective/The Shadow ever put on paper, that has a larger point behind the questions and criticisms it brings up to what this kind of figure can be. 

"You can hardly have a war on crime unless you are the one defining what a crime is. First rule of the war on crime: everyone is guilty or something"

Us am vigilantes! Am us not men? Us use violence to effect social change! Am us not men? Us bring terror to underclass, make streets safer for overclass! Am us not men? Am us not men?

Making them loved rather than feared. Having them fight crime, or the right kind of crime, at least. Created a persona designed to appeal to the worst in people, to bring the citizens of New York around to his cause, his war on crime, which would, of course, then become a war against ‘urban crime’. Or some other little euphemism. ‘Inhuman’, for example. Sounds a lot more relatable than subhuman, doesn’t it? Comes to the same thing, though.

Although The Blood-Spider is an evil take on The Shadow, most of his character traits are taken from characters that followed him. He’s got the moniker, savagery, fright tactics and branded murders of The Spider, he climbs buildings and has a civilian identity akin to Spider-Man’s, with constant name references to characters like Stacey, Jonah and a redhead named Mary Watson, with him sharing a name with Peter Parker as well as Batman villain Jonathan Crane, he’s got Rorschach monologues that are echoed by his associates past his demise in white supremacist organizations dedicated to carrying off Spider’s legacy, predating HBO Watchmen’s take on Rorschach legacy. If Doc Thunder is all about taking the superhero’s past to create a better future with it, Blood-Spider takes the future of the urban vigilante and uses it as a conduit to enact a barbaric and reactionary agenda in service of undoing everything Thunder stands for, even before he’s revealed to be a Nazi agent. 

Blood-Spider is what happens when the absolute worst aspects of said characters are brought to the forefront and twisted by a dose of reality. He’s to The Shadow what Plutonian is to Superman, the most sour way said character and legend can be twisted into something horrendous. He’s the Doutrinador in a fedora, everything I vehemently argue that The Shadow wasn’t, and yet seems sadly ever closer to as more and more comics dehumanize the character. He’s Howard Chaykin’s Shadow, naked and raw and exposed for what it ultimately is. An insult and a wake-up call, if a necessary one.

In fact, said poisoning of a legend is explicitly a plot point in the book, because the book establishes that, before The Blood-Spider, the city’s main vigilante used to be a man by the name of Blue Ghost, friend of Doc Thunder and, although a mysterious public figure, still firmly on the side of good. Unfortunately, moral victories aside, “good” alone doesn’t cut it in the world of El Sombra. 

You took a look at the Blue Ghost - mysterious masked avenger, operatives all over the place, big fan-following with the working classes, and you figured...we need one of those. Just take away the Japanese orphan kid and replace him with a foxy Aryan chick.

Blue Ghost is almost a textbook Spirit analogue, even defined as being beat up a lot as his main asset, except here, he’s placed as Doc’s counterpart that died before the story began and is now replaced by a darker and more horrendous counterpart, and because The Spirit was influenced by The Shadow, it opens a roundabout connection. You can read this as a comparison between the shift from Adam West’s Batman to Frank Miller’s Batman, or a comparison between The Shadow and earlier more straightforward pulp vigilantes like Jimmie Dale, or a comparison between the pulp/radio Shadow and later iterations of him or analogues to his archetype that upped the nastier aspects. Again, nothing in El Sombra is ever quite just one thing. 

And at last we come to El Sombra, who spends much of the book caught in between the duels of Doc, Untergang and players in between. And it’s interesting that here, while El Sombra’s final victories over the story’s major conflict lie in his willingness to team up with Doc, despite knowing of his origins as a Nazi weapon, his victories over Blood-Spider instead come from turning tricks of The Shadow against him. First, when he discovers Spider’s true nature, spying on him by pulling a Fritz the Janitor. And then in the finale, when he schools Spider on what a real shadowy avenger looks like. 

"Amigo...that's my sword"

The voice came from the darkness above them, where the gaslight did not reach. The Spider's blood ran cold for a long moment, and then he grabbed hold of his other gun, tearing it from its holster and raising it to fire a volley of bullets into the darkness. "Where are you? Show yourself!" he hissed, turning in place, the gun raised to fire at the slightest sound or movement.

"You're not the only one who can hide in the shadows, my friend. I've got very good at it, over the years."

"Show yourself!" Another volley of shots, with no result. Was he throwing his voice? Was he everywhere at once? Was he a shadow himself? A ghost?

The voice echoed from another place now, continuing his speech exactly where he had left off. And still that mocking voice echoed from the shadows above.

"See, I didn't know if you were a good guy or a bad guy. I mean, sure, you killed people, and you were kind of a dick about it, you know? But I didn't know if you were one of the bastards. I didn't know if you needed to die or not, amigo."

The gun clicked empty. He was out of bullets. He turned again, and there was the man in the red mask. Just standing there, in the middle of the concourse. His smile didn't look human. And his eyes. Oh, his terrible eyes...

"Stay back." The Spider whispered, and his voice sounded in his ears like a frightened, animal thing, waiting to curl up and die in its hole.

The man in the red mask only laughed. A rich, deep, joyous laugh, a laugh that echoed and filled the whole station, bouncing from pillar to pillar, careening through the great vaulted arches. Such a laugh!

Then the laughter stopped, and he fixed the Blood-Spider with a look that would freeze the fires of Hell.

And suddenly - quite suddenly - there was no Blood-Spider. There was only Parker Crane, the Nazi. Parker Crane, the traitor. Who thought he could destroy America, and only managed to destroy himself. Parker Crane. Just a man wearing a mask. He ran, and left the sword behind him.

"Nice trick," Doc murmured, turning to the masked man. "Throwing your sword from up on the balcony - good aim, by the way - then throwing your voice and a little mental suggestion to make him think you were up in the arches where he'd been. Where did you learn that?"

The masked man shrugged, lifting up his weapon. "In the desert. You can learn a lot in the desert, if you put your mind to it."

By the story’s end, once Lars Lomax, Thunder’s arch-enemy and Lex Luthor, takes center stage as it’s ultimate threat, Parker Crane is left a traumatized, broken shell unable to even move, utterly stripped of any mystique or power that his mask and guns may have brought him. And in the end, El Sombra finds him, neutralized and no longer a threat to anyone. And he makes his choice.

El Sombra knew what it was to hate, to hate so hard and so long that you knew nothing else, to hate so strongly that it crossed that line into something beyond reason.

He lifted his sword, resting the blade in his palm for a moment, considering. Crane only stared, weeping and making his soft, mad noises. El Sombra sighed, shaking his head. "You know, I don't know if I can kill a guy who's already dead. Even if he is one of the bastards."

"Don't let him in here." Murmured Crane, his eyes wide.

"Shhh, I won't let him in," smiled El Sombra in response, trying to be reassuring. "You'll never have to face him again. I promise. It's okay, amigo. It's okay."

It was strange. He knew he should feel hate for Parker Crane. It was Djego's job to bear things like pity and doubt, to feel sorrow and shame. That was Djego's role in their team of one. El Sombra was there to take never-ending revenge and to laugh and to never look back. But to know that his murder of Heinrich Donner - his righteous kill - had resulted in so much harm coming to so many... and now to see the leader of Undergang, the man he'd come to New York to kill, just an empty, broken madman, a shell of a person... El Sombra wondered if he was changing.

"Don't," whispered Crane, a tear rolling down his cheek. "Don't let him back in."

El Sombra smiled, placing a hand on his shoulder. "It's okay, amigo. I'm going to go and make sure nobody ever needs to see him again. And I couldn't have done it without you." He squeezed lightly. "You didn't mean to, but you did some good. Remember that."

Then, gently, he pushed the tip of the sword through the front of Crane's skull and into his brain.

He was not incapable of pity. But he was who he was, and he did what he did.

And broken or not, the bastards had to die.

We’ve seen El Sombra struggle and be faced with choices, choices between Djego and El Sombra, choices between kindness and violence, between peace and conflict. We’ve seen the conflict in his soul between things that he knows are right, because Djego is a good man with a good soul who wants good things for himself and others, and things he knows he must do, because he is El Sombra and El Sombra was created to kill the bastards that brought his world to ruin and therefore it’s what he must always do. And in the end, El Sombra is simply stronger. He has to be. But strength and violence and hatred can only get one so far. 

Gods of Manhattan is the trilogy’s moral compass, the book that most clearly defines the morality the series operates on. And in between the spectrums of justice embodied by Doc and Crane’s approach, between the two urban avengers in The Blue Ghost and Blood-Spider, El Sombra made his choice. And it’s the first choice that dooms him.

Enter Pax Omega, and we learn that, 4 years since the previous book's events, El Sombra joined a squad of agents called Yankee Bravo Seven, who work for an organization named STEAM, who enact missions against Nazis to turn the tides of war. He is joined by several other types of characters, including The Blood Widow, Crane’s former assistant Marlene Lang now having taken up the moniker (just as Nita van Sloan did for The Spider, even with the “Widow” prefix). We see that El Sombra has joined a team of bantering heroes and even formed a friendly rivalry with a man named Savate, modeled after Batroc the Leaper. 

But we see that the hunger for vengeance still burns, still burns beyond reason, restless because it’s been 4 years and the war still isn’t over and Hitler still isn’t dead by his sword. And it’s that restlessness that again dooms him, when he once again makes the wrong choice and betrays leader Jack Scorpio, Scorpio who had personally brought him on board and gave him the best shot he ever had at getting to Hitler. 

El Sombra frowned. "We need to make our move now."

Scorpio shook his head. "Not yet."

"What?" El Sombra looked incredulous.

"Wait for my signal, I said! Damn it, I need you to trust me!" Jack Scorpio reached up to brush the back of his finger across his forehead, and realised he was sweating. 

Through his special glasses, El Sombra's aura was glowing an angry, pulsing red, like a throbbing vein. "Just...trust me. I'm asking you to hold back for just five minutes. There's more going on here than you know."

El Sombra just stared at him, his lips pulling back from his teeth in a cold snarl.

"Trust me. That's all I ask." Jack Scorpio looked into the blazing eyes behind the bloodstained mask, and spoke softly, soothingly, almost desperately. "Can you just hold back for one minute?"

The eyes behind the mask narrowed.

"Can you?"

PERSONNEL FILE: DJEGO "EL SOMBRA". TO EYES ONLY: THIS INDIVIDUAL IS HIGHLY DANGEROUS. IT IS STRONGLY RECOMMENDED HE NOT BE INCLUDED IN ANY OPERATIONS CLASSIFIED ABOVE TOP SECRET OR HIGHER. (I'll take the risk - J.S)

El Sombra spat in Scorpio's face.

"Chinga tu madre."

Then he drew his sword and leaped down into the fray.

After the mission is over, with the base destroyed and a major victory secured, although with Jack Scorpio having been killed, the team disbands. El Sombra continues to wander the forests near the Luftwaffe base for about two weeks, killing as many Nazis as he can, until an explosion blast hits near him, knocking away his mask and portions of his leg and arm, and rendering him unconscious for 8 months. By the time he wakes up, the war has ended, and so has El Sombra for the past 7 years.

Djego was afforded the best of medical care at the hospital in Venice. El Sombra was nowhere to be found.

His mask had been torn off in the explosion, along with some of the meat of his leg and arm. He walked stiffly, now, with a pronounced limp, and his left arm was all but useless, hanging limply at his side. The Wildcat crew had salvaged his sword, but Djego had little interest in using it.

Gradually, he regained his mobility. The back of his head itched constantly, and he suffered from horrendous mood swings, when he would rage against the Fuhrer and the bastards, or weep helplessly, like a child. But gradually, he found his personality stabilising in the gentle, antiseptic atmosphere of the hospital. He found that Djego - so long despised as a weakling, a coward and a fool - was capable of a kind of gentle, melancholic wit that made him popular.

Djego healed and grew, and the itch in the back of his skull began to subside, as El Sombra relinquished his grip.

Djego felt his heart seize in his chest. The cloth was missing a scrap at the end, and there was mud ground into the fabric along with the old bloodstains; but it had two evenly-spaced holes in it, and was unmistakably a mask. It seemed to be looking at him.

He takes up gardening and establishes himself in the city of Brandenberg, he becomes a fixture of the city and a friend of it, he enters a relationship, and El Sombra never appears again.

Until a mysterious stranger named Leonard Lorraine, walks through his door one day, saying he’s got a mission to fulfill, and hands him his mask. And, once again, El Sombra is simply stronger, and he makes the wrong choice again. 

Djego shook his head and tried to step back from it, but his legs wouldn't move.

"No," he whispered. "No. Please"

"I was happy," pleaded Djego. "Doesn't that matter to you?" He picked up the cloth in trembling fingers, looking into the empty eyeholds. "Doesn't that mean anything?"

There was no answer. The patrons of the bierkeller did not even notice anything was happening.

"I was happy," Djego choked, and then, in one spasmodic motion, he pulled the mask onto his face, and secured it tightly, so that the knot once again rested in the back of his head, where it belonged: so tightly that it might never come off again.

El Sombra looked at his hands.

He prodded his belly, amused at the rounded shape of it, and took a couple of steps back from the bar. The limp was gone.

He laughed, very softly, so as not to disturb the patrons.

Djego and Lorraine walk through the desolate streets of Berlin, which in the years since has completely sealed itself from the outside world through an impossibly thick dome, and Djego discovers the city completely bereft of life, with only a few lobotomized robotic citizens aimlessly wandering and chewing on the mountains of corpses in the city, as their Nazi ideology reached it’s inevitable outcome of total annihilation of any and all that the party could find an excuse to slaughter in the name of purity, which eventually included it’s few remaining members. In this world, Hitler has been a brain inside a robotic contraption ever since 1945, and it’s amidst this scenario that El Sombra, while thinking about how his final confrontation with Hitler would play out, eventually finds what’s left of Hitler. 

All around them, there were the sounds of machinery, but the Mecha-Fuhrer was completely silent, utterly motionless. In the centre of its chest rested a tank of toxic green fluid, and on the surface of the fluid, a human brain floated, like the corpse of a goldfish.

It was quite dead.

El Sombra stared at the Fuhrer for a long moment. Eventually, he spoke, and his voice was cracked and raw, and choked with rage. "Is...is this a joke?"

De Lareine smiled his terrible smile. "The Fuhrer's body needed a great deal of maintenance and repair, you know. After two years, one of the processes delivering oxygen to his brain failed...and there was nobody left to repair it. He died, slowly." There would have been some pain, at the end".

El Sombra slammed his fist into the great iron throne on which the massive body sat, shattering his knuckles and tearing the skin from them. He didn't seem to notice. "Some pain," he choked, through gritted teeth."

El Sombra was still staring into the empty, dead eyes of the Fuhrer.

El Sombra again chooses poorly. It’s this moment, above all else, that truly damns him to his fate, as we come to see what is it exactly that a persona created for the purpose of vengeance has, when said vengeance is robbed from it. Like Parker Crane, his persona crumbles completely to expose the petty, ugly little feelings that drove it to such grandstanding antics in the first place, and the allmighty El Sombra is exposed for the all-too human failings that damned him once and for all.

"This isn't right," he said, eventually, in a strangled voice. "How...how can it end like this?"

"Why shouldn't it?" De Lareine shrugged. "Here's a thought. Maybe, despite his twenty-year tantrum and all his dressing up, spoilt little Djego is not the centre of the universe -"

El Sombra turned, face red, tears streaming from his eyes, and charged at De Lareine, slashing his sword. El Sombra crashed down onto the floor, into the soot scattered about, as De Lareine walked around him.

"Did you really believe Adolf Hitler would wait around for your sword? Did you not imagine that it might be better for him to seal himself off in a hole to die, instead of murdering and enslaving continents until you finally got around to him? Did you think you were the hero of your own little story, El Sombra, with your mask and your laugh and your-"

"Shut up!" El Sombra cried out, scrambling to his feet, the sword shaking in his hand, tears and snot running down his face. "He was mine! He was mine to kill!" He lifted the sword, the tip trembling. "Bring him back," he screamed, "do you hear me? Bring him back to life!"

De Lareine had to laugh at that.

And in the end, El Sombra is crushed, spiritually and physically as his spine is shattered by Lareine, who begins to experiment on him as he lays dying, ready to fulfill fate’s greater purpose for El Sombra. Ready to become not just the perfect machine Pasito’s conquerors intended, but a superior design. Ready to abandon his former life, ready to abandon everything that defined him, ready to shed any and all traces of Zorro and Shadow and pulp hero in his system, because the age of pulp heroes and superheroes has passed. 

The metal man emerged from his hole, dragging the corpse of the Fuhrer behind him.

The brain in the metal man's chest would, perhaps, live for thousands of years. He wondered how he would spend the time.

He remembered little of his former life; he had been a man named El Sombra, or perhaps Djego. He had been stupid - he realised that now - but that was something he would never be again.

Apart from that, there was only a succession of faces, the memory of laughter and of a final, awful betrayal that had destroyed him. But there was also the sense that a great and terrible mission had ended at last, and it was time for a new life to begin.

The metal man took a last look back at the great dome of Fortress Berlin. Somewhere in there, the Leopard Man was hunting, freed from his own mission. And in the Fuhrer's old office, the empty, lifeless clay of El Sombra - or was it Djego? - lay, discarded, like a butterfly's cocoon.

The metal man thought on this, as the Fuhrer rusted at his feet and the tanks began to approach from over the hills ahead.

He would need a new name.

It’s now the age of Pluto.

[wonderfulworldofmichaelford]

Is It Really THAT Bad?

How many fucking times must I talk about this movie?

I feel like this movie doesn’t need an introduction. Everyone knows this film. Its reputation precedes it. It didn’t bomb and it’s not generally considered one of the worst films ever made (at least on the level of films like Robot Monster or The Cat in the Hat), but this movie is easily one of the most divisive films ever made. This film has generated enough arguments that, if we harnessed the energy of all the flame wars it has caused, we could probably power the entire world until the heat death of the universe.

With the impending release of Zach Snyder’s bloated redo of Justice League, I’ve decided to go back and ask myself of this film here… is it really that bad?

THE GOOD

Here comes the most uncontroversial opinion: the action scenes in this movie rock (or at least two of them do). The standouts are the titular showdown, which almost makes sitting through the rest of the movie worth it, and the epic warehouse fight Batman gets into, which is like something straight out of the Arkham games. It’s so good. And aside from that, a lot of the cinematography in the film is good. The film knows how to look good, though unfortunately it does end up being a lot of style with little substance.

On the subject of Batman, I think Ben Affleck is a great and inspired choice. I certainly think he’s worthy of standing alongside Batmans like Clooney and Keaton, easily embodying both the Dark Knight and Billionaire Playboy aspects fairly well, though the writing does not always handle him quite as well as it should (we’ll get to that soon enough). Henry Cavill, while still a rather dour Superman, is as good as ever as Superman, and Gal Gadot as Wonder Woman was a great choice here, especially since she didn’t have control so that she could insert anti-Arab racism, like some DCEU movies.

Perhaps one of the movies most impressive feats is how, in an uncharacteristic moment of brevity, it manages to condense the backstory of Batman into the prologue, getting it out of the way and not making us sit through yet another Batman origin film. This is literally the only thing the movie has over the MCU; where that franchise just has the character Spider-Man inexplicably in existence without even a hint of his origins, they just get Batman’s tragic backstory out of the way so we can see him beating the crap out of people. If more superhero movies want to take this route and just condense the backstory into an opening montage like this, I’d be down for it.

THE BAD

I really could just say “most of the movie” but that’s such a cop out. Let’s actually look at the problems. Let’s work our way up through the things from least problematic to most, shall we?

The best place to start is what Zach Snyder did to Jimmy Olsen.

Jimmy Olsen is made into a CIA spook who is brutally killed early on, and yes, that was Jimmy Olsen. Snyder put him in to shock audiences with his senseless murder, and also because he felt the character had no place in his series. Does making Watchmen just turn people into joyless husks who like to horribly bastardize iconic characters? Jimmy Olsen is ultimately a small microcosm of the film, but he is the sum total of everything wring with the early DCEU. He is bleak, soulless, and shows a critical lack of understanding about the comics and why people enjoy them.

Now let’s move on to the more exciting problem to discuss: the villains. I don’t even think it’s worth wasting much time discussing what’s wrong with KGBeast. While it is kind of interesting they’d think to use the guy at all, the fact he never dons the costume and dies by the end of the film is unfathomably lame for a character named KGBeast.

Now, onto the main antagonist, and the most infamous part of the movie: Lex Luthor.

Lex Luthor is horribly, horribly miscast. Jesse Eisenberg is a great actor for sure, and he’s effective in movies like Now You See Me, The Social Network, and the Zombieland films. But here he is being asked to play one of the most diabolical cunning geniuses in comic book history, and rather than play him as such, he plays him like a cartoonish twit. This Lex is utterly unrecognizable as Superman’s greatest foe. Does anyone think Lex Luthor would send a jar of piss to someone as a joke before he blows them up? That’s more something the Joker would do on an off day. Lex is not cunning, not intimidating, and not diabolical in the slightest, and yet there are moments where Eisenberg’s acting chops shine through and Lex, for a moment, is almost engaging. Luthor really suffers the way Doctor Doom tends to in film adaptations: the filmmaker clearly doesn’t get why people like the villain, and decide to do some weird, unique take that will only cause to alienate fans.

But perhaps the worst of them all is Doomsday. Doomsday has exactly one claim to fame, and that’s killing Superman, so as soon as he shows up if you have even a passing awareness of the character you know how the movie is going to end, which robs the film of tension for its last battle. The fact he also appears with little buildup and doesn’t have any characterization doesn’t help; Doomsday is just the Big Gray CGI Blob that superhero movies try and pass off as a final boss for the heroes to fight. This has worked precisely once, in Iron Man. The Incredible Hulk and Venom did not make it work, and this film is nowhere close to being in the same ballpark as Venom.

By and far the biggest problem, though, is the movie’s incredible length and its very existence in the franchise at this point in time. This is an epic superhero crossover in which two of the biggest comic book characters of all time fight and then team up… And it is the second movie in a franchise. While they do a good job of establishing Batman rather quickly, Wonder Woman comes out of nowhere. And then at the end, Superman ‘dies.’ We have had one single movie prior to this to make a connection to the guy, and yet here he is getting a temporary comic book death with no buildup whatsoever that we know is going to be reversed sooner than later because the movie telegraphs this to us.

Imagine if, instead of building up the character over the course of a decade and putting him in all sorts of different stories, the MCU went right from Iron Man to Endgame. You go from a simpler, character-driven piece to a massive crossover where a hero dies right away, and it doesn’t give anyone time to care. Tony Stark had multiple films worth of characterization under his belt before they threw him in a crossover, let alone killed him, but Snyder expects you to give a damn about a Superman who just started his career in the previous movie of a franchise.

And the ass-numbing length of the movie is no justification. Even before the director’s cut came out this film was a slog, and the director’s cut really does nothing to earn its existence. All it does is add more runtime to an already tedious and bloated film, leading to the same exact ending and fixing none of the overarching narrative problems of the thing. The problem with any director’s cut is that ultimately the movie is still going to be Dawn of Justice, it’s still going to lead to extremely rushed character decisions, and it’s still going to be a mess. You’d have to redo half of the film to make this into a worthwhile and coherent narrative that’s actually worthy of being an entry in a superhero franchise.

And to top it all off, the movie spends far too much time foreshadowing for its own good. People criticized The Mummy for shoehorning in way too many shared universe elements right off the bat, and if that movie was bad for it, so is this one. The cameos from all the members of the Justice League, while striking, could be excised from the plot with little to no impact, and the Knightmare sequence is just excessive and weird.

Is It Really THAT Bad?

The answer to this question has never been harder.

On the one hand, this film does have some merit. There is some good casting choices, good cinematography, good action… But then, on the other hand, the film is overly long, pretentious, has poor writing and dialogue, mishandles everyone aside from Superman, and is just incredibly unpleasant.

This film is in many ways the exact problem Christopher Nolan created with his Dark Knight trilogy. Nolan, by grounding the fanciful characters of comic books into a realistic setting, created a climate in which someone could suck any sort of joy or meaning out of comics. The success of his films meant that people would see dark, gritty realism as preferable to joyous, colorful escapism, and the negative effects of his films, however good you find them, are still felt today even as filmmakers are finally shaking off the grit. Dawn of Justice is the zenith of Nolan’s style of superhero film. There is nothing fun, joyful, or engaging to be found here; it is simply the characters you know and love forced into dark, miserable scenarios that ends in death and misery. Where’s the fun? Where’s the color? Where’s the wonder, the excitement, where is any of it? This film paints a bleak and miserable and hopeless picture of a world of superheroes. It really makes me think of this rather famous comic panel:

I absolutely hate this movie, but not because I think it’s bad. I hate it because it has enough good ideas where it should be the best thing ever, but it really isn’t. It’s a miserable slog of a film that does nothing to justify or earn its massive runtime whatsoever. It really does belong somewhere between 5 and 6 on IMDB, because I can almost see why people like it, but it just isn’t even remotely close to being how good its fan say it is. This is not a good superhero movie, and this is not how we should want superhero movies to be. There is a market for serious superhero fare of course, and there’s no reason that these films can’t engage with mature themes or anything, don’t get me wrong. But this is absolutely not the way to do it.

[loisinherlane]

Hi! I hope this isn’t an annoying ask but I’m curious to see how you view Conner’s dynamic with Luthor? I feel that Conner’s relationships with both of his dads hasn’t really been delved into as much. I think the closest we’ve gotten is Titans?

This isn’t annoying at all! <3 Anon, I love getting asks so much because I love to ask. Being asked how I view dynamics is exciting because it’s a chance for me to run my mouth.

First, I’m going to clarify that I don’t keep up with current comics super well, especially because I’m still reading through a lot of the more fundamental old comics. Most of this analysis is based on Post-Crisis continuity, and we’ll have to admit that’s Schrodinger’s canon at the moment. When you say Titans, I’m not sure if you mean TTv3 or the TV show, which I haven’t really watched since midway through the second season, so I have no comments on that.

We should also note that Lex as a character isn’t exactly written consistently. When Kon first appeared, Lex was in disguise as his own son via a clone body... and Kon was only made to be his and Clark’s “son” later, in the wake of the Smallville changes. These are changes I still ascribe to in my canon: The Luthors are from Smallville. Clark and Lex were best friends. This has an enormous impact on the Luthor-Kent dynamic as a whole.

You’re right in that they really haven’t been delved into that deeply. For one, DC doesn’t acknowledge Clark as Conner’s dad (except in this tiny, tiny panel where Lex is reading an article by Lois).

(Adventure Comics (2009) #2)

I see you trying to hide that, DC. Could not make it less obvious. But it’s canon to me. Clark considers Conner his son. <3

Of course, Lex much more obviously calls Conner his son, but he also calls him his property. Big Yikes.

(Robin (1993) #147)

(Adventure Comics (2009) #3)

Obviously accounting for different writers and different takes, we can take this combo in multiple ways. Lex could be lying in either case. Consider the first panel. After his first fight with Superboy-Prime, Conner gets sick, and Tim theorizes Luthor must have a way to save him prepared somewhere. He does, and this is their conversation afterward. It makes sense for a Lex who doesn’t actually care about Kon to still want to save him because he’s “his.” But it also makes sense for a father who loves his son but can’t show it for whatever reason to do anything he has to do to save him without revealing his hand.

This doesn’t even take into account what Lex did earlier in TTv3, but I’m not going to hash that out too much. Suffice it to say, whether Lex loves Kon or not, he’s not above using him as a tool.

Kon’s feelings are more comp(Lex). (Ha. I think I’m funny.) When Kon comes back from the dead, he has this conversation with Clark:

And later, when Kon is working through his list to figure out if he’s more like Clark or Lex, he admits he was lying.

(Adventure Comics (2009) #1)

In canon, Conner has very little time to process how Lex uses him as a tool (see my child of divorce notes), and he has to figure out how he feels about not only being a clone of Superman and Lex Luthor but what that means for him as a person. He really tries to parse that out once he comes back to life, but he never really gets a chance to get to know Lex Luthor as a person, only as a villain.

Personally, I think Kon’s feelings are really akin to a kid who loves their parent while recognizing they’re not a good person. Kon wants to know Lex, and he wants to be part of his family, even as he’s repulsed by him and his actions. This is such a child of divorce mood too: You’re constantly managing your parents’ feelings. Clark hates Lex, so Kon has to hate Lex too! Conner chose his side. He’s not allowed to regret it. And the thing is, Clark is proven right over and over. So why would Conner want to know him at all? But Lex does have family, and while they haven’t been around in a while, I think it would have been cool if his relationships with Lena and Lori Luthor were explored more!

Sorry this got really long and rambly and I totally lost the point. When writing, I try to extrapolate from canon as much as possible. I think they have a really complex relationship that hasn’t been explored deeply enough because they don’t really know each other. I’d love to see multiple avenues. A Kon that unambiguously hates Lex after getting to know him. A Kon who manages to have a familial relationship with Lex in spite of being on opposite sides. A Kon who convinces Lex to settle down and just be the annoying ex-husband, basically. Sometimes, lighter versions of their relationship are fun to write/read. (Literally my rendition in Kon-El and the Great Kazoo Caper.)

Personally, I’m a big fan of metaphors, so I think my ideal Conner and Lex relationship goes back to the child of divorced parents thing. Lex constantly tries to pull Kon between him and Clark, and Kon hates it. He hates that he’ll always side with Clark because it’s the right thing to do, even though it makes him feel guilty. He hates that he cares about Lex at all. And Lex loves him, but that love doesn’t mean Conner isn’t someone he can use. Sometimes parents are just bad people, whether they love you or not.

Hope this makes sense, anon! Feel free to shoot me any more questions you have. <3 <3 <3

[facepalming-since-chernobyl]

Yes, luthors completely ruined the show, I fucking hate that they sidelined danvers sisters and were focused on Lex/Lena in S4,S5. Who the fuck even want to watch Lex/Lena shit? Instead we could have got a lot of danvers sister moments. S5 was a total flop because they didn't focus on Kara at all. So much unnecessary drama from both Lena and Lex. You know I really like Lena but these SCs are only overdosing us with Lena to the point its nauseating. Whatever happens in the episode they will be tweeting Lena under Supergirl tag. Recently few Nia, Dansen fans called out their hypocrisy. I swear they don't care about Kara's character or development. Only around few Scs genuinely care about Kara and her story arc. Rest of them don't even give a fuck about her, only be posting Lena's pics 100 times under supergirl tag!

This is the “why we even needed Lex if he is not Kara’s enemy in the comics”. Like... there are multi other people who could have been the asholes of the season, even fuckign Leviathan that was teased as somethign big and in the end we got ... meh. The worst thing is, Lex is still there, still not punished. Plus the whole crisis shit, instead of fixing things ruined the plot more, made more holes and the writers instead of using smartly, they just go the easiest way and treat it as deus ex machina. What is super annoying. 

As for Lobotomizer, we all moaned here about her more than 10000 times, but seriously, who wants to watch a whiny, butthurt white privileged and extremely rich bitchm, who thinks she is always right, is judge, jury and GOD and never pays for her shit and victimizes herself all the time. We have this shit in fucking NEWS. So give me a BREAK in a fictional show about a girl who has superpowers, flies and is screwed by a green rock.

UGH

I mean, holy fuck, we have Alex, we have Dreamer, we have Brainiac, Kelly, J’onn and M’ghan and instead of focusing on them, we watch how they waste the time for Lobotomizer who has the same problems since ep 1. How boring it is.

And I think the saddest thing is that I didn’t mind lena in the begining, but their fans made me hate her. Also, thanks to them I will never ever watch anything with KmG. So, congrats Scs.

[bigskydreaming]

Could Jason and Chris Kent have become friends? I know nothing about Chris or the comics from Jason's Robin era. I heard that Chris is the erased eldest son of Superman? I'm intrigued, but that means even the children of the biggest superheroes ever can be erased?

Ugh, I love Chris Kent and miss him (the pre-Flashpoint version of his character) a ton. And y’know, there are a couple ways you could manuever him and Jason into a friendship, though I don’t think they ever met in continuity. I don’t know how well they would have gotten along if you just went with the versions of the characters that both existed at approximately the same time, but they do actually have a decent amount in common, like with some tweaks it could work. Ironically, character wise they probably would have gotten along really well when Jason was Robin, but continuity wise, Chris didn’t even debut until after UTRH, though he rapidly aged from a young kid to a young adult after just a couple of years.

But lemme back up a bit because Chris is, umm, complicated.

SO. Christopher Kent was born Lor-Zod, the son of General Zod and Ursa, while they were held captive in the Phantom Zone. They were abusive asshats to him, and he’s not a fan. But for some reason which had to do with blah blah blah invasion plot blah blah, Zod made a spaceship from inside the Phantom Zone that he sent Chris to Earth in, because due to being born while in the Zone, Chris was actually able to take physical form, unlike the Kryptonians trapped there as a prison.

When Chris crashed on Earth, he was taken by a government agency aimed at monitoring extraterrestial ‘threats’ and treated as such. Cue Clark finding out that there was another Kryptonian on Earth, he was a kid, and he was being treated as a prisoner and it was like, See Clark Run. See Clark Mad. See Clark Raze The Department of Extraterrestial Affairs From The Earth With His Searing Hot Eyebeams Of Rage and Also Destruction.

And then Clark took Chris home to the Kent farm, and eventually he and Lois ended up adopting Chris and raising him as their own. Lois was the one who gave him his Earth name of Chris, which he’s always been shown to vastly prefer over his birth name just like he can’t stand his birth parents, as they are abusive asshats. He used to call Lois “Mama Lois.” It was adorable.

There’s a lot of back and forth about calling him Clark and Lois’ adopted son versus foster son, depending on various wikis and even issues, but its the same kinda thing that happens with all the Batkids at various points, and like, I remember issues that actually called Ma and Pa Kent Clark’s foster parents, so just do what I do and groan and sigh and accept that DC habitually employs writers and editors who just flat out don’t understand how fostering and adoption works. And its not that there’s anything wrong or lesser about fostering, and its absolutely the better way to go for some, its just foster son and adopted son are not remotely interchangeable, they are two different things, and DC has GOT to stop playing take-backsies with adoption, like just don’t do that, don’t make that a thing.

Anyway, for awhile it was Clark, Lois and Chris and they were quite happy together. Chris existed well before Jon Kent and they were never raised as Kents at the same time, unfortunately, and he did have some cute scenes with Conner, though this was mostly when Conner was characterized as seeing Clark more as an older brother and never really raised by him. (Similar to YJ-verse, but I have a lot of issues with that in YJ-verse because of HOW that played out, that I don’t have in pre-Flashpoint comics, where it felt a little more natural for Clark and Conner to have a brotherly relationship, mostly due to the fact that I don’t recall Conner ever expressing a want for the relationship to be otherwise in the comics, and having a strong bond with Ma and Pa Kent himself. I could be wrong here though as I skipped a lot of Conner’s writing when Geoff Johns is behind the wheel because I just....really miss 90s Kon-El who was practically a totally different character BUT I DIGRESS).

 But then because comics gotta comics, eventually Zod escaped from the Phantom Zone to fuck all that up, and invaded Earth because he’s like I’m Zod and invading Earth is like, my entire personality, its the only move I’ve got in the deck, what do you want from me. And Luthor eventually cooperated with the heroes to stop the invasion by configuring some sort of cosmic vaccuum cleaner to suck all the Kryptonians with a connection to the Phantom Zone back into the Phantom Zone, but then this didn’t seal the Zone up again once all the invaders were back in and Chris realized its because even though he was just born there, he was technically connected to the Zone too and it wouldn’t close up again as long as he was outside it. So he sacrificed himself to save his father (Clark took quite a beating from Zod in this) and the world and dove into the Phantom Zone, which sealed up behind him.

BUT he was saved at the last second (and without anyone else knowing for awhile) by someone named Thara. She was the security chief of Kandor, and she took Chris to protect him from the revenge of the Phantom Zoners who would have blamed him for their re-imprisonment. And off-page, during the years between Chris getting sacrificing himself to seal the Phantom Zone before his reapparance, Chris had a comic-book style growth spurt uncannily like the one Jon Kent got when Bendis started writing him, resulting in an uncannily similar dynamic between Chris and Clark and Lois when they reunited as Bendis wrote Jon having with Clark and Lois when they reunited. Why do I emphasize this, is it because I think Bendis is overhyped and I’ll never stop complaining about how all his biggest story beats are blatantly just recycled story beats from less well-known writers and characters, no that can’t be it, must be something else.

Anyway, Chris eventually returns to Earth, now a teenager, and now going by Nightwing while Thara went by Flamebird. This was around the time Bruce was lost in time and Dick was Batman, and there was never like, any crossover. Which sucked because Dick would’ve been fine with it as Chris had more of a claim to the name than even him (it wasn’t like with the Nightwings in the Ric Grayson arc, who became Nightwing BECAUSE of Dick’s persona, but rather that Chris and Thara were basing their personas purely on their own Kryptonian myths and what they represented to the Kandorians who were now living on Earth at the time. Totally different situation). But really it was just missed opportunities, IMO, as I think Chris and Dick also would have gotten along really well and their paths just never really crossed.

Somewhere in there Chris got another random growth spurt and ended up in his early 20s, he and Thara ended up in a relationship which was not my fave cuz of all the aging shenanigans but whatevs, Chris kept having random aging growth spurts which had Lois really worried about him and she tried to get the hero version of Dr. Light (Dr. Kimiyo Hoshi) to help him thinking maybe it had something to do with light or radiation, but they never really got around to trying to fix it because Lois’ douchebag dad General Lane showed up and tried to capture Chris, and he and Thara fled. And then they ran into Supergirl, who at first tried to kill Thara because she hated her because Kandorian Backstory I honestly do not remember, but then Chris revealed himself and was like Kara, its me, we’re cousins, and then they had adventures with Kara for a time, then there was this whole thing where Thara and Chris were both briefly possessed by and then merged with the actual Kryptonian gods/entities of Nightwing and Flamebird and then the entities left them and were like okay, we’re all done with whatever that was, as you were.

Chris thwarted his evil birth parents again, blew up some stuff, there was more Phantom Zone shenanigans and then General Lane and Lex Luthor turned the sun red to try and kill all Kryptonians, Thara fixed it by sacrificing herself, Chris tried to join her but then the Nightwing entity hijacked him and was like nope, and then not long after, Chris sacrificed himself again to push Zod back into the Phantom Zone AGAIN (seriously, it was like they were on a loop at this point, ugh) and he ended up in the Zone himself, but for real this time....and for some reason that turned him back into the age he should’ve been if he’d been aging normally this whole time, and the last we saw of Chris, he was like ten years old and in the Phantom Zone and being helped by Mon-El, and then the New 52 happened and rebooted everything and wherever that was going no longer mattered.

And then New 52 Lor-Zod showed up at one point as like, Zod’s loyal little son-minion, and DC has never shown a hint of intending to pursue an actual Chris Kent storyline in the New 52, and I hate that lots and lots because its like lol, this character was an abuse survivor in his original incarnation and you guys were like, lol no big deal, we’ll just make Zod the exact same asshat he’s always been but now this version of his son is just like him and likes it, why would that be a problem. WHATEVER.

Basically, New 52 Chris Kent doesn’t exist, that’s my story and I’m sticking to it.

Which is a fucking shame, because Chris and Jon Kent as brothers being raised together WITHOUT ANY WEIRD AGING SHENANIGANS with their cousin once removed, Kara, and their older sorta brother sorta uncle Conner could have been like. So great.

So anyway. There’s LOTS of directions you can take Chris, and he’s really a great character. If you’re aiming to make him friends with Jason specifically, my go-to there would be to just have the events that led Chris to Earth originally just....happen a lot earlier in the continuity of your story. So have Chris arrive on Earth and be adopted by Clark and Lois roughly around the same time Jason steals the tires off the Bat-mobile, and you’re pretty much in business.

(BUT if you do go this route, keep in mind that Jason died before the Death of Superman storyline, which is where Kon-El debuted, so even if Kon/Conner’s still older than Chris here, Chris would already be an established part of Clark and Lois’ family by the time Kon-El arrives on the scene, which would change dynamics there, not just between Chris and Kon/Conner, but potentially between Kon/Conner and Clark and Lois as well).

OR you can keep Chris’ arrival as happening roughly when it did in canon (2006 was the year he debuted), and just have him do a little aging up, like, as a treat, and so be his older self when Jason returns and starts interacting with the cape community again, with their first interactions being when they’re both young adults who for completely different reasons missed out on large chunks of childhood. There’s some potentially interesting angles to explore there too.

Just depends on which way you want to go with that.

(PS, I think aging up is an overused trope most of the time in comics anyway, but its not so much aging Chris rapidly to a teenager and then young adult that I had an issue with, so much as doing it largely to put him in a relationship with someone who first met him when they were already an adult and he was ten. Its the initial age gap being an established part of the overall dynamic with an eventual love interest thats the issue, not that an age gap existed before two characters ever met - if for all other intents and purposes - their dynamic treats them as if they both were effectively always around the same age).

[thevindicativevordan]

Big 2 Comics Terminology for Beginners

As a kid trying to get into comics there were a lot of terms being used in regards to Marvel and DC that I didn’t really understand. When I would ask other more knowledgeable people who had been around longer to explain, I typically got condescending looks of pity. “Oh God a newbie” was the thought clearly flowing through their head. Those in the know didn’t have any interest in explaining to those outside how things worked, all the better to keep the fandom “pure”. 

In the interest of providing an explanation for terms crucial to understanding how the Big 2 operate, and as a way to kick off this blog, I thought I’d try my hand at explaining what the many words used when talking about DC and Marvel actually mean. That way when I use the words you know what I mean and you’re not confused by how I’m using these words.

Bear in mind that some people will use multiple words interchangeably, all the better to confuse you with. I believe the following definitions will provide the most clarity however.

Continuity - This word is crucial to understanding the words that follow so we’ll start with it. At it’s most basic, continuity means the stories that are acknowledged and built upon by the stories that come after as having “happened”. For example, over at Marvel, Stan Lee and Steve Dikto’s origin issue of Spider-Man in Amazing Fantasy #15 is still in continuity. When writers and artists do flashbacks to Peter Parker’s origin, that issue is what they are referencing. In contrast, the Siegel and Shuster Action Comics #1 issue that contained Superman’s origin is no longer in continuity. Superman was not found by a passing motorist, raised in an orphanage, and had his powers as a baby. That’s no longer in continuity, stories in the mainline won’t reference it as having “happened”. 

Continuity is a tricky beast at the Big 2, warped by reboots, retcons, reveals, and just plain old passage of time. The Big 2 are obsessed with trying to keep continuity accessible and understandable to new readers, hardcore fans are obsessed with making sure their favorite stories are referenced and maintained as “important” and having “happened”. This tug of war, as you might imagine, causes problems.

Canon - This word designates the stories that are in continuity. A “canon” story happened, “matters”, is referenced to, and is built upon.

 Reboot - Here’s a big one. If you’re a fan of DC you know this word. You’ve probably heard it used several times to describe everything from the New 52, to DC You, to Rebirth, to Infinite Frontier. However the only one to me that actually qualifies as a reboot is the New 52.

Reboots take a well known franchise and starts it over from the beginning. Basically it’s as if a franchise is debuting for the first time with none of the previous stories mattering at all. Or at least that’s  supposed to be the intention, in practice it’s not that simple. There are actually two sub-types of reboots: hard and soft.

Hard Reboot - This is what a reboot is “supposed” to be. A clean slate upon which writers can start over from scratch. None of the previous stories are taken to have happened, none of the previous character development is in play, the old relationship statuses aren’t where the characters are now, characters can have any of their traits (race, sexuality, gender, personality, etc) changed, etc. In short anything goes. This is what DC did for Justice League for the New 52. The team had a totally new origin, a new roster where a mainstay like Martian Manhunter was swapped out for Cyborg, Cyborg was never a Titan and was a founding League member, etc. Superman, Wonder Woman, Aquaman, Flash, and Cyborg all got hard reboots.

Soft Reboot - This is where things get confusing. Basically it’s a reboot... but not really. The intent is the same, start over, but some stories carry over, some character development holds true still, etc. Basically trying to have your cake and eat it too. With the New 52, both Batman and Green Lantern got soft rebooted. Bruce was no longer and older 30-40 year old guy, now he was in his late twenties like the rest of the League, and all his old pre-Flashpoint continuity got carried over, except somehow compressed to have taken place in 5 years. Also he never wore the old costumes (such as the old blue cape and cowl with the yellow oval Bat-symbol). Green Lantern carried over likewise, Hal was younger and everything from Johns run or referenced by Johns run still “happened”. Somehow. Even though stuff like Blackest Night didn’t make any damn sense anymore, that happened, just not the way it actually happened in the Blackest Night issues you read.

You may notice that the two franchises that didn’t get rebooted were the two that were doing just fine Pre-Flashpoint sales-wise and critics-wise. Shocker I know. Reboots are intended to revive struggling franchises that are suffering from creative decay, and are in need of dramatic shake-ups.

Relaunch - Often confused with reboot, this word actually means something different. Relaunches typically aren’t about wholesale erasure of continuity. Instead what they mean is DC and Marvel take a bunch of their ongoing series and restart the numbering while also swapping around the creative teams. So if you’re reading Hulk #210 written by Al Ewing and drawn by Aaron Kuder (this is just a made up example), when the relaunch hits, next month you may be reading Hulk #1 by Ewing and Kuder, or you might be reading Unstoppable Hulk #1 by Ewing and Kuder, or Ewing and a new artist, or maybe even a new writer and artist creative team all together! 

Very clear and non-confusing I know. However the previous run you were reading before the relaunch still happened, and is still in continuity. Relaunches are typically used to advertise big new changes in direction. Stuff like Otto Octavious becoming Spider-Man or Jane Foster becoming Thor, that’s stuff that typically leads to a new #1, at least at Marvel. 

Marvel NOW! is an example of a relaunch. Bunch of old ongoings got relaunched with new #1′s, creative teams got shuffled around, and also new series got announced which is typical for relaunches. Note that reboots also typically coincide with relaunches, as happened at DC with the New 52, but not always. The Post Crisis reboot did not result in Action Comics or Detective Comics getting relaunched for example.

Retcon - These are when stories go back and change the events of previous stories. Stuff that was previously thought to be true no longer is, relationships are changed, characters are modified, etc. However the stories still happened, just not the way we thought they did when we read them. Perfect example of this is one of the most hated retcons ever, One More Day. This story ended with Peter and MJ never having been married. All the previous stories still happened, but they were just boyfriend/girlfriend living together and not husband and wife. It’s the perfect example of how retcons can piss readers off.

But retcons don’t always have to piss people off. One of the best received retcons was Alan Moore retconning that Swamp Thing was a living plant who absorbed Alec’s memories and merely thought he was Alec. In reality he was something else entirely. All of the previous Swamp Thing stories still happened, they were still canon and in continuity, but our understanding of them changed. 

Reveal - This is when the readers are made aware of something that changes the context of the story they’ve been reading. All retcons are reveals but not all reveals are retcons. How to explain the difference? Here’s how I define the difference between the two:

A retcon is when a writer changes something that the writer previously thought to be true. This could be one writer retconning another, or a writer retconning themselves. For example George Lucas retconned that Darth Vader was Luke Skywalker’s father Anakin. That was not the intention when he made A New Hope, the two were separate characters. Another retcon is when Geoff Johns revealed that Superboy/Kon-El was the hybrid clone of Superman and Lex Luthor. That was not the original intention when Kon was created by the writers who created him.

A reveal is when the writer changes something that the readers thought to be true. A previously heroic appearing character is actually a villain in disguise, and they were always intended as such. See Terra in Wolfman and Perez’s Teen Titans for an example.

I think that’s enough for one post, I may make another intro post to explain other terminology, but this feels like a pretty good place to stop for now.

[maryellencarter]

SO! A week or two ago I got the DVDs for both seasons of "Justice League: The Animated Series", which I hadn't seen in ten years and remembered loving a lot. Spoiler: I still love it a lot. I put off watching it for a while because I was scared I wouldn't, but then I watched it pretty much straight through without even stopping to liveblog.

So. THOUGHTS! ^_^ Any of y'all who've ever shared a fandom with me know I'm always around for one particular character. In this case, that's J'onn J'onzz, the big green guy, whose official comics codename (sensibly not used on the show) is Martian Manhunter.

(There's a bit in one of the tie-in comics where a parent is telling their kid "don't be scared, honey, he won't hurt you, that's the uhh... Martian Maneater..." which has never ceased to amuse me.)

Anyway, we all know I have a tendency to give reviews in the vein of "Good story but no werewolves", and it must be granted that I never did bother watching Justice League Unlimited because Carl Lumbly (J'onn's voice actor, Minnesota born and raised with Jamaican parents, which is apparently how you get a Martian accent I couldn't place to anywhere on Earth) wasn't a regular anymore. But y'know, it's a really good ensemble team too, even if I like Tim Daly's Superman (from Superman: The Animated Series in the same animated universe) a lot better than George Newbern's. Or, well, I did. I haven't heard *him* in ten years either. Anyway! Off topic.

SO ANYWAY. Obviously, spoilers hereabouts, although it's what, fifteen, twenty years old by now? But if you care about spoilers for somewhat elderly TV, you might not be following me anyhow.

So the meta premise, just in case anybody was unfamiliar, is thuswise: First there was Batman: The Animated Series, in which Mark Hamill was the best Joker while not being an asshole as a person, because he is a competent actor and not a dickwad. Then there was Superman: The Animated Series, which I remember as being a delight and I want to watch it again too someday. Then, because apparently if you have Batman and Superman the next step is the entire Justice League, there was this.

The actual premise is, that during an alien invasion of Earth, Superman and Batman rescue a prisoner, J'onn J'onzz, the last survivor of the Martian society the invader aliens wiped out. (J'onn and Clark get little bits of bonding over the last-of-their-kinds thing but I've always wanted more. In a fandom auction I once donated $60 for a fic on the topic, but life happened and I do not hold it against the person. Still a little sad though. It's not something I've ever quite been able to write myself.) J'onn has a whole grab-bag of superpowers including telepathy, with which he summons additional heroes The Flash (speedster, this one is twentyish goofball Wally West), Green Lantern (specifically John Stewart, a black ex-Marine), Wonder Woman, and Hawkgirl (a winged humanoid-alien woman with an energy mace). Together, they fight crime! Mostly.

Specific episodes: I'm going to use "episode" to refer to the runtime covered by a single title so I don't have to say "two-parter" or "three-parter" every single time, because this show had literally only one single-part episode out of the whole 52 episodes.

* Secret Origins, three-parter: In which the Justice League is formed and repels the invasion of Earth by the aliens who wiped out J'onn's people. A very strong start, good character intros. I will never be over the very small worldbuilding fact that J'onn is rescued by Superman and Batman, and has seen nobody else on Earth yet but invader aliens (these are what used to be called the White Martians but the show does not use this name either which I think was a wise choice), so when he shapeshifts from his more alien "natural" Martian form to the look which will be his default for the series, he chooses a briefs-and-cape look because based on the two examples he's seeing, that's what Earth people wear. It's not explicitly called out, but it's a great way to make it a little less... comic-booky that you have no less than three extra-beefy guys with almost identical costume silhouettes here.

I think the arc between Batman and J'onn is one of my favorite parts of this, the way Batman starts out being like "I still don't trust him" and winds up trusting him enough that it's their teamwork which saves the world this go-round. Also, speaking as a fan who likes me some whump, can we talk about the scene where J'onn is being mindprobed with all those tentacles under his skin? I have so fucking many feels about that scene, okay. God, that whole climactic sequence is so damn good. And his tiny lil smile at the end of the last episode! I do love me some microexpressions, nonetheless that they are animated. (I can't draw so I am constantly boggled by just the skill it has to take to draw a character so on-model that varying one line by a few pixels Says Things.)

* In Blackest Night, two-parter: The one where the extremely Kirby-designed cop robots frame Green Lantern into believing he blew up an inhabited planet. Introduces several alien members of the Green Lantern Corps. Flash trying and failing to act as GL's lawyer is fairly embarrassment-squicky to me; many of the things anybody does with Flash on this show are fairly embarrassment-squicky, although he does get some great moments. René Auberjonois does two voices, as a spherical Green Lantern and as the "witness" who helps frame GL. The climactic scene is great -- sometimes the Green Lantern ditty just doesn't work, but between the sound design and the animation and Phil Lamarr's voice acting, this scene blows me away every time. I feel like this one could have been shorter though.

* The Enemy Below, two-parter: In which (blond) Aquaman guest-stars, J'onn takes on the first of many roles where he acts as bait by impersonating a villain's target, and the thing where Aquaman cuts off his own hand to escape a manacle is very tastefully handled for a kids' show. I probably would have found that scene way too suspenseful and traumatic as a kid but I was an extremely sensitive small child. Opinions on this episode: I don't really have many. This universe's Aquaman is a *dick* who appears to live by the rule that you must always fight a superhero when you meet one on the street before explaining your business. I always squee when somebody turns out to be J'onn, because I've usually forgotten. (He usually is people and not animals or, like Odo more than once, a bag. I wonder if he has some conservation of mass thing going on or if it's just easier to animate when you keep your same basic arrangement of limbs.)

* Injustice for All, two-parter: Lex Luthor, dying of kryptonite poisoning, puts together the Injustice Gang to try to destroy the Justice League. He didn't invite the Joker, but Hulk expy and heavy hitter Solomon Grundy is also voiced by Mark Hamill, so the Joker naturally turns up around the point where Luthor captures Batman, commentating on Luthor's misguidedness in keeping Bats alive and generally providing a running peanut gallery. Clancy Brown and Mark Hamill are both always fun, so this one is pretty entertaining.

* Paradise Lost: Wonder Woman backstory-ish episode. A sorcerer turns the other Amazons to stone, then blackmails Diana into stealing four artifacts for him, which he assembles into a key to free the god Hades from Tartarus. Notable mainly for the extreme mangling of Greek mythic cosmology into an aggressively Christian shape. Not good. It does have J'onn and Flash teamed for a bit, which is interesting, and J'onn gets to one-punch a giant magic brass cobra, but that's about all there is to speak for it. It looks like the writer also did my very least favorite two-parter of the whole series, unless this is some sort of Alan Smithee situation, because the name is Joseph Kuhr and I have a half-memory I can't catch that there is *something* more than coincidence in the whole, you know. "Joe-Kuhr" thing?

* War World: Apparently this one was pretty nearly universally hated. I do not hate it, because the concept "Superman and J'onn are accidentally blown across the galaxy together and sold to an alien gladiatorial arena" is something I am 110% down for, but I wanted a lot more interaction between them and possibly a lot more fic. I can't decide if I actually want to ship them, but they're obviously very close and I want to see more than snippets of that, dammit.

That's halfway through season one. Imma go sleep. more later.