Easter Egg Hunt: Annotating the “Grayson #12” Splashes

DC’s best current title Grayson just delivered one hell of a splash page in its latest issue (#12). The dynamite team of Tom King, Tim Seeley, Mikel Janin, and Jeromy Cox plays with the continuity sandbox in a delightful way as Dick Grayson (in disguise) with an amnesiac Bruce Wayne. Surrounding Dick are several unattributed word balloons containing dialogue from previous interactions between Bruce and Dick. And wouldn’t ya know it, these random word balloons all contain dialogue that actually existed in previous comics, this canonizing a ton of stuff from the past. Here is the splash:
grayson bubbles

Here is an example of one of the more obvious ones (from the famous “Robin Dies at Dawn” story from Batman #156):
dies at dawn

The last one, “What did he say to you in the dark?” is from Scott Snyder’s Batman Vol. 2 #17 (the conclusion to “The Death of the Family”).

“Earn the night” is from Seeley and King’s own Grayson: Futures End #1—a cryptic line that Batman says to the Boy Wonder when the latter questions why his costume is so much brighter than Batman’s.

“Care for some lemonade?” is a reference to Frank Miller’s crap-tastic All-Star Batman and Robin the Boy Wonder #9, where the Dynamic Duo paints a room yellow to negate Hal Jordan’s ring power!

“I’m not escaping!” comes straight out of the classic Grant/Breyfogle Batman: Shadow of the Bat #3 (1992), when Batman is in Arkham Asylum!

“I’m tired of talking!” is, of course, from the legendary 1971 O’Neil/Adams “Daughter of the Demon!” issue (Batman #232) that gave us the debut of Ra’s Al Ghul.

“Let’s blow this shindig” is from Dixon/Beatty’s Robin: Year One (2001).

Those are the ones I discovered pretty quickly. Props to NextReact for finding a bunch more.

Can anyone else figure out where all the rest come from?

While I’m primarily interested in the Bruce/Batman quotes, Seeley and King have definitely given us quite a task with even more Easter Egg quotes from yesteryear…
more eggz baby



I’ve discovered all of them (both the Bruce and the Babs splashes), except for the following:

“Robin, you go after the man on the roof—I’ll take the gondola!”

“You can tell his widow…his orphans…just exactly how great I am!”

“Ready for a rough climb, Robin?”

“Get set for some action, Robin!”

“You’re right. I guess the life of Bruce Wayne does depend quite a bit on the existence of Batman!” (Someone told me Batman #4, but I can’t find it in there.)

“Careful, Dick. This giant Lincoln head penny is one of our prize trophies! Let’s not smash it on our first day back home!” (Someone told me World’s Finest Comics #30, but can’t find it in there either.)


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The History of Batman: Fictional Canon (Part Two)

This past Saturday, I had the distinction, pleasure, and honor of speaking before a wonderful full-house all-ages crowd at the Schlow Library at Penn State University in State College, PA as a part of BookFestPA, a special comic-con even held in conjunction with the Central Pennsylvania Festival of the Arts. In case you missed my TED Talk-style presentation, I thought I’d share the transcript here on disContinuity. This is Part Two (of Two) of my lecture, entitled “The History of Batman: Fictional Canon.” The first part addressed what my project is all about and attempted to make sense of the confusing concept of fictional canon. In this finale, I’ll put all of that into context by showing my own personal process of continuity-building when it comes to reading Batman/DC Comics. Here goes.

history of batman slide one #2

First and foremost, DC’s major reboots are incredibly important to understand continuity. Reboots influence reader experience, in relation to canon, more than anything else. Superman debuted in 1938 and Batman in 1939, essentially starting DC Comics’ shared narrative universe—and the Golden Age of comics. In the 1950s, DC wanted a fresh start with a new type of modern hero. Thus, the Silver Age was born. However, unlike a total line-wide reboot, DC staggered this reboot title-to-title, which gives the Silver Age reboot a debatable starting point. The Silver Age start-date technically can be plotted anywhere from the mid Fifties to the mid Sixties, depending on how you look at it. I won’t get into those nitty-gritty details, but I’ve written about the Silver Age re-launch extensively on my website if you are interested in learning more. SLIDE TWENTY-ONE. Essentially, DC rebooted approximately twenty-five years after it started. This uniquely created two main Earths—the characters that started in the late 30s and early 40s, now much older and semi-retired, continued on Earth-2 while the rebooted rookie versions got the main focus on DC’s primary line featured on Earth-1.

Almost as if on cue, roughly twenty-five years later, in 1986, the seminal Crisis on Infinite Earths crossover was published, which collapsed the existing multiverse and rebooted it all into one new unified Earth where all characters had a new shared history, which was slowly meted-out bit-by-bit over the course of the following decade. This is the dawn of the Modern Age of superhero comics.

(After this, DC had two minor soft-reboots, 1994’s Zero Hour and 2006’s Infinite Crisis, that are both worth mentioning but not really that important for our discussion.)

Twenty-five years after the original 1986 Crisis (in 2011), Flashpoint rebooted DC yet again into our current continuity that we see today.

golden age batman debut

Batman’s Golden Age origin (1940).

Batman silver age

Batman’s Silver Age origin (1980).

batman modern age

Batman’s Modern Age origin (1986).

new age origin batman

Batman’s New Age (current continuity) origin (2012).

(Just this past year, Grant Morrison put out a series called The Multiversity, in which he took DC’s NON-FICTIONAL publication history that I just told to you and turned it into FICTIONAL CANON. We are talking never before achieved or attempted levels of meta-meta-meta-narrative going on. But THAT is a topic for another discussion!)

multiversity grant morrison spread

Now, (believe it or not) that was probably THE MOST BRIEF history of DC Comics that one possibly could have given. By catering to this complex history it might seem as though DC is acting exclusionary and doing itself a disservice by making things so convoluted and sprawling. While knowledge of this history is essential if you want to track canon or continuity, it doesn’t need to be understood or even known to simply enjoy the comics. They stand on their own—you can pick up a collected trade paperback and read a totally inclusive story that begins, has rising action, a climax, and denouement. But the beauty, especially for me, is that if you already like comics, then knowing about this history will only serve to augment your enjoyment.

My process factors in many things beyond reboots. That’s just the tip of the iceberg. Let’s look at few examples, just to show you how it works, and why it’s fun.

Be very aware that with most examples that show my process, there can often be various interpretations to open-texted material. Again, this is the idea that fandom dictates canon.


FLASHBACKS are pretty straightforward, but not always. This is a random example of a flashback from Batman Eternal #11 that shows a seamless flashback to Cluemaster’s origin as his daughter Stephanie Brown does research at the library. Sometimes they give specific time references, sometimes they don’t. (It’s better not to give specific time references because dwelling in specificity only exposes an author to greater risk of error/contradiction.)


REFERENCES are anything mentioned in a comic that is to a past event that is unique (and hasn’t been shown before or is not in another issue prior). This happens a lot, especially in the Golden and Silver Age. Batman #69, Part 2, as our random sample, refers to an event that never happened. It must be inserted into history at a point that makes sense.

reference to previous era

REFERENCES/FLASHBACKS FROM ONE ERA TO A PREVIOUS ERA (also known as retconning using BROAD STROKES) occurs quite often. Here’s a little thought exercise to help us better understand before looking at a specific random example: Let’s take all of the adventures from 1964 through 1985 that Batman goes through… After reboot in 1986, that stuff all gets totally erased, but casually referenced or flashed-back to by various authors that want to draw upon Batman’s rich history. However, those references and flashbacks cannot happen EXACTLY as they did since they fit into a new updated, modern continuity. Thus, they become retroactive reference material, a mere skeletal framework of what once was that resembles the past, but has been altered to fit the present. And, ironically, we (the reader) do most of this retconning in our own minds with the stimulus being the authorial nod within the current narrative. My example here is Zook shown in Superman/Batman #31 and a subsequent two-panel flashback to a Silver Age story (or approximation of a Silver Age story) within. This canonizes the 60s comedy character Zook, which previously hadn’t been canon in the grim’n’gritty Modern Age—of course, the JLA’s adventures with Zook aren’t folded in as they are, they have to be altered versions that better fit the era.

bruce selina marry

gay batman and robin

GOLDEN AGE RETCONS FROM THE 1970s/1980s cause a lot of alteration. In the 1970s Bruce and Selina are retconned to have been married with a baby, so a bunch of stories from the 50s and early 60s don’t fit! Batman #117 is an example of a story that no longer makes sense if Bruce is happily married to Selina. He probably would be sharing a bed with his wife, not Dick. Come to think of it, why IS Bruce sharing a bed with his young ward? Batman #117 is a very curious example for this very reason… which was unfortunately and unjustly used as awful ammunition by Fredric Wertham during his witch hunt against comics back in the 50s.

time-sliding superman batman JFK

TIME-SLIDING occurs in both the Silver Age and Modern Age. Retcons in the late 1970s and early to mid 1980s, as gleaned from hints in the narrative of several titles, caused the start dates for DC characters, including Batman, to be “slid-up.” Likewise, DC did the same thing starting in 1994 with a story arc called Zero Hour, and slid things up annually until around 2002.

no man's land lex luthor

time sliding new 52 dc

COMPRESSION / THE LENGTH OF EACH TIMELINE occurs quite often as well. Reboots and retcons cause significant time-compression. Time-sliding, for instance, causes massive compression. Say a story arc (like “No Man’s Land” or “Knightfall”) occurs over a specific nearly yearlong IN-STORY period. When things are made more contemporary, large chunks of story time cannot accommodate the shorter more-updated timeline. Thus, we have to imagine a condensed history. Instead of a full year, “No Man’s Land” only lasted a few months. Or Batman recovers much faster after Bane breaks his back in “Knightfall” etc…

Another significant aspect of compression can be seen in the most recent DC reboot, 2011’s Flashpoint reboot, in which the entire line was re-launched. Editors were weary of the reaction that fans would have to a completely rebooted Batman with no past to speak of, so while Batman still had to fit on the six-year-long timeline, his entire history, including multiple Robins, still existed! This led to crazy speculation on the internet as to how this could be possible. My site maps this insanity out pretty damn well. But basically, as of right now, Batman’s entire history has been squeezed into a seven year timeline. Robins go from side-kicking for years to just having been “interns” for a year or less in order to make things work. The key events and stories are still there, but they are skeleton versions of what they once were. And some of them are merely a casual reference, dropped in conversation between two B-list characters.

ayatollah vs superman

TOPICAL/SEASONAL REFERENCES sometimes wind up having to be ignored as well. Many books in the mid to late 80s were prominently about the Cold War and featured Reagan, Gorbachev, the Ayatollah, and Soviet army stuff galore. Of course, two decades after that, DC is telling its readers that Batman hasn’t been around since the 80s, but instead only debuted in the 90s, which means how the hell could those Soviet stories make sense? Christmas stories are rough too. It’ll often seem as though there are multiple Christmases in a single year when writers and editors don’t communicate with one another.


EASTER EGGS are a fun type of example. The Batcave trophy room is filled with them. Basically, the Batcave trophies have long existed as a means for artists to have fun and draw in whatever they please. But when this happens, let’s say for instance someone draws a gigantic mushroom in there, this means that Batman went on some unspecified mission and netted a giant mushroom as a prize. This becomes a part of his history that we can only imagine in our own minds!

character stephanie brown robin

CHARACTER CHANGES happen—sometimes personalities, races, or ages change (or don’t change when they should in the case of the latter). Wally West going from White to Black is a big recent change. Likewise, in current continuity, Stephanie Brown no longer was a Robin (even though she was the fourth official and first female Robin once upon a time). Robin’s age in different eras is screwy too. In the Modern Age, the third Robin (Tim Drake) was seemingly in high school for WAY TOO LONG. Likewise, Dick Grayson was the same way in the Golden Age. Stuff like this—i.e. the idea of keeping characters perpetually fresh—can lead to some pretty shoddy continuity.


THE KILLING JOKE is fun to talk about because it’s such a seminal title—so important and yet so polarizing. It has always been hailed as a classic, and only in recent years has it come under scrutiny as being possibly misogynistic and poorly constructed. Even Alan Moore himself has disavowed it (although he’s disavowed all of his work from that era, so take that with a grain of salt). Supposedly, Moore was told this story would be out-of-continuity, which likely affected his plot. Recently, artist Jesse Hamm did his take on an alternate version (pictured above to the right) of the infamous gratuitous scene where Barbara Gordon is thrown into a fridge and paralyzed by the Joker. Hamm added the comment “There, I fixed it.”

killing joke bolland

You also have the great Brian Bolland redoing the Bat-symbol for the 2008 Absolute Edition of The Killing Joke just because he liked the way it looked better without the yellow oval. But that messes with continuity! Batman’s different costumes are specifically linked to different periods of his crime-fighting career. The original (from 1988) is shown above as compared to the altered (from 2008).

lego batman

EVERYTHING TECHNICALLY EXISTS IN SOME (ALTERNATE) CONTINUITY, which calls into question the the difference between non-canon and out-of-continuity. There are multiple Earths—(the Big Two used to call stories happening on these planets “Elseworlds,” “What Ifs,” “hypertime stories,” or “imaginary tales”—which means that the idea that everything that gets published can take place on its own timeline is NOT that far-fetched. This hearkens back to my colleague from California (mentioned in Part One of this piece) who is an advocate of timeline placement for all sorts of Batman ephemera from the 60s, 70s, and 80s.


Overall, continuity is a thing that is getting much more attention from the mainstream eye, ironically not so much in comics, but more in film (thanks to the rise of the Marvel Cinematic Universe, the upcoming DC Cinematic Universe, DC’s TV Universe, a new Terminator film, continuation of Star Wars, and more. Sites like wookiepedia, and various other wiki-style sties now exist to collect and categorize heaps of story/character information in encyclopedic, easily-searchable fashion.

And every day, one can stumble upon a plethora of other complicated things involved with canon that I haven’t mentioned. Since 2000, Lucasfilm (and now Disney) has had a single authority in charge of continuity for Star Wars canon. There are now different level-designations of canon within the Star Wars universe—G-canon, T-canon, C-canon, S-canon, N-canon and D-canon. Star Trek itself has multiple canons, which have now become intertwined with reboot films. The Dragon Ball franchise is similar.

Even more mind-boggling terms seem to make the concept of fictional canon even more complex—words like headcanon, fanon, canon immigration, deuterocanon, canon fodder, canon welding, recursive canon, call-backs, and many more are always popping-up on websites and forums these days.

As you can see, there’s always more to say when it comes to matters of canonicity and continuity. It’s a topic I enjoy discussing and it’s one that will hopefully be talked about even more in the near future. I’m always glad to be at the forefront of that discussion and am eternally grateful to have had such a positive response from fans/readers both on the internet and at the Schlow Library this past weekend at Penn State University.


collin colsher's the real batman chronlogy project

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The History of Batman: Fictional Canon (Part One)

This past Saturday, I had the distinction, pleasure, and honor of speaking before a wonderful full-house all-ages crowd at the Schlow Library at Penn State University in State College, PA as a part of BookFestPA, a special comic-con even held in conjunction with the Central Pennsylvania Festival of the Arts. In case you missed my TED Talk-style presentation, I thought I’d share the transcript here on disContinuity. This is Part One (of Two) of my lecture, entitled “The History of Batman: Fictional Canon.”

history of batman slide one

My name is Collin Colsher and I’m a writer, artist, and the creator of The Real Batman Chronology Project. I’m going to talk about the history of Batman specifically in three ways: First, by talking about what my project is about; second, by addressing the confusing concept of fictional canon; and third, by showing examples of my process when it comes to figuring out continuity.

batman chronology project slide

The Real Batman Chronology Project, which started six years ago, tracks the narrative continuity of DC Comics via the lens of Batman, plotting each of his appearances into detailed timelines. I recently explained this to a friend of mine who doesn’t read comics and her initial response was “That’s cool, but I really don’t understand. Doesn’t one just read the comics in the order they are published? Why does there need to be a project dedicated TO that? And if it really is so difficult, surely there must be lots of projects similar to yours online, right?”

history of DC

These are great questions and I’ll try to answer them. Why IS my site necessary? Superhero universes exist in comics as a vast collection of interconnected serialized fictions. Every Wednesday, dozens of titles come out continuing the story from the previous week’s batch of titles. And all of these titles–week to week, month to month, and so on—tell an ongoing über-story in which the events and characters of said titles all exist in the same shared world, directly influencing each other. (To show how many ongoing titles are released, on the first Wednesday of July 2015 alone, Dark Horse put out 10 comics, DC put out 24, IDW put out 10, Image put out 13, Marvel put out 21, and there were upwards of 30 indie books as well.) DC and Marvel don’t tell you in what order to read them or how to organize them. Now, to be clear, the Big Two do publish trade paperbacks and their issues are all numbered and can be read in some sort of an order. But when it comes to stitching every title together to make the über-story that tells the whole tale, THAT is not a task that either company really gets bogged down in. How can all these titles possibly exist and function cohesively? The comics combine to form a puzzle and it’s how the pieces fit together that really interests me.

Marvel U

When I started my project in 2009, I began compiling a master list of Batman appearances. From there, I started reading everything in chronological publishing order starting from 1939. (I’m still in the process today.)

bill finger

But why Batman? Why is he so important? Well, he’s not just an awesome character. He’s quite popular, in case you didn’t know—he shows up in almost every DC title at some point. Batman is THE primary lens through which DC Comics has been able to tell a consistent narrative for the past 75 years. Technically, in the DC Universe, everything kind of revolves around the Holy Trinity of Batman, Superman, and Wonder Woman, but we’ll stick with Batman for this discussion. We can easily use Batman appearances to determine passage of time, character age, where events occur, where things need to be rearranged, how things come together, or how things fail to come together. Of course, a ton of variables have to be considered and the process gets complicated. THIS is the reason why there are so few attempts at what I’ve done—and the few attempts that exist are either incomplete or quickly abandoned. I’m sort of a masochist for continuing my project with such diligence!

many batman comics

For those unfamiliar with superhero comics, this is all probably pretty vague. But I think that a better grasp of fictional canon can help elucidate.



When we think of the word “canon” we often think of the classic definition: A body of historical works in music/visual art/film/literature considered to be masterpieces worthy of study. The problem with this form of canon lies in the question: “Who determines what is considered worthy?” Typically, canons have been determined solely by a White male majority of scholars and critics. Only in more recent years has the canon begrudgingly begun to accept other works of non-White/non-colonial/non-male authorship i.e. what we could call diverse works. But in any case, the very idea of this type of canon is outdated and old-fashioned, even in most legit circles of academia. But ANYWAY we aren’t here to talk about that, we are here to talk about the more modern and interesting iteration of canon: fictional canon.

what counts? watchmen

year one stories

Fictional canon exists in serialized media and refers to any source material that is in-continuity as opposed to what is out-of-continuity, or, in other words, what officially “counts” toward story/character development versus what does “not count.” At first glance, every superhero story seemingly falls either into the category of canon OR non-canon. HOWEVER, that is a gross oversimplification. The authors and owners of said conceptual material usually determine what is canon, but most canons exist only because they have been accepted as “official” by a fan base. Since the entire concept of canon is rooted in fandom and fan interaction with the stories, ultimately there’s no way of determining what is officially canon or non-canon. Canon is also often said to be the opposite of fan-fiction, but again this is an oversimplification for the very same reason. Ironically, both are rooted in fandom. Therefore, canons are all malleable constructs that can never be 100% finite.

That being said, my project monitors canon. And I just told you that there IS NO OFFICIAL CANON! This may seem like a complete invalidation of my project, but this contradiction is actually the very reason I do what I do!

To me, the most interesting thing about canon is that it always gets defined as this very scientifically precise concept, something chained to authorship, ownership, and continuity. But because of the nature of superhero comics, so much of what goes into making sense of multiple overlapping stories by multiple creators is done solely in the mind of the reader. So, canon, usually defined so rigidly, really isn’t a rigid concept at all! Therefore, in serialized fictional media, I’ve come to personally define canon as: The collaborative perceptive processing of an ongoing work by both authors and readers, through which the story MAKES THE MOST NARRATIVE SENSE. You’ll see what I mean as we continue.

tv tropes

A great quote from the awesome TV Tropes website that might make it clearer how canon is determined by fans: “Canons for completed works with a single author or finite group of authors are descriptive, whereas fans’ attempts to define canon for ongoing works are prescriptive. If a fact is ‘canon,’ you are ‘not allowed’ to contradict it.” So, basically the word descriptive refers to rules based upon information given by the author(s). Conversely, the word prescriptive refers to rules that reflect reader value judgments/opinions. (This is obviously a rigid definition, but it helps us understand the relationship between canon and fandom.)

Now, before moving forward, a quick interlude about where the very idea of fictional canon came from.

sherlock holmes

The idea of fictional canon was invented by Ronald Knox in 1911 in reference to Arthur Conan Doyle’s Sherlock Holmes. There were a ton of Sherlock knock-offs, so Knox used canon to deem which books fit into the official Holmes-verse and which were mere imitations.

sherlock and batman

(Sherlock Holmes is actually a complicated example to talk about in regard to canon since the character is now in the public domain and has been re-created in various media formats and even since been included into the same world as Batman and Superman. Public domain is another great topic of discussion. Warner Bros and Disney are great at lobbying Congress and putting out material simply to extend copyright—the very reason 75-year-old characters like Batman and Superman haven’t gone into public domain even though they should have by now.)

But putting public domain aside, here lies the big mega-difference between Sherlock Holmes, written by one author with one source of narrative, versus superhero comics, written by a ton of authors and spreading throughout multiple sources of narrative. Tracking a single source’s continuity is much easier than tracking something that has multiple streams. Also, the chance of error increases as you add more streams of information. Take something that has a TON of material—say, TV shows like King of the Hill, Law & Order, Seinfeld, or Full House. Each of these shows has a lot of episodes to sit through to complete the whole picture, but each contains only one SINGLE PRIMARY source of information. It may take a while, but the episodes are in order and all you have to do is watch them to get the chronological tale in full. Superhero comic universes, on the other hand, have multiple sources of narrative information to sort through.

streams of information

Superhero comics get even crazier in regard to multiple sources of narrative information when we think of the synergistic trans-media experience that permeates most storytelling today. It’s not just different narratives from comic books. What about board games, toys, TV shows, video games, phone apps, novelizations, etc…? Where, when, and how do they fit in? A collaborator of mine from California likes to stir the pot, so to speak. He’s an avid collector of Batman ephemera, especially rare stuff from the 60s and 70s. And he often will poke and prod and say why can’t THIS be canon? Or this? (Belt ‘Em For Safety, a great example, is a 1981 booklet made by DC for The National Highway Traffic Safety Administration and is worth $1500 now.)

does this count?

viewfinder look n find batman

tiny titans

Superhero comics are also uniquely complicated because each superhero company places their titles within the spectrum of a shared world—or universe, multiverse, etc… While all of Sherlock Holmes’ adventures occur on a singular timeline in which he, Watson, and Moriarty all existed, the same can be said of Spider-Man, Iron Man, and Captain America, who all exist in the Marvel Universe. Or the characters of the Marvel Cinematic Universe. Or Luke, Leia, and Han Solo in the Star Wars Universe. Likewise, Batman, Superman, and Wonder Woman all exist in the DC Universe. There is so much going on and so much room for contradiction when working within the confines of a cluttered fictional world, especially one in which there are hundreds of toys in the sandbox, so to speak. Therein lies another part of the problem. To put it bluntly, there are a lot of characters to keep tabs on!

tv tropes tiny titans

To reiterate the idea of canon being malleable, there’s another great quote from TV Tropes that I’d like to share. “Writers can tweak continuity quite a lot without actually breaking it by using [various methods]. In fan communities ‘canon’ can sometimes boil down to ‘the bits we like.’ Fans will attempt to find any excuse to ‘de-canonize’ facts that they personally find inconvenient.” Basically, while complete works with one author have a less debatable canon, they still don’t have 100% concrete canon. To sum up, the percentage of certainty decreases when you add authors, time, sheer weight of published material, complexity of shared worlds, characters, information sources, and the hot-blooded opinions of fanboys/fangirls. But once you understand how canon works, you can figure out what canon is. That’s the business I’m in—wading through all of this information I’ve just explained to you and analyzing all of this knowledge to create the BEST POSSIBLE CANON. And how do I actually put it all into practice? I’ll show you—in PART TWO of this piece!

penn state batman

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The Real Batman Chronology Project @ BookFestPA 2015

bookfest pa
Hey, friends. I will be a featured guest speaker at this year’s BookFestPA, an annual arts event held at Penn State University every summer in conjunction with the Central Pennsylvania Festival of the Arts. This year’s BookFest is comic book themed and, as a former alumnus of Penn State, I’ve been invited to give a little talk about my websites and the history of Batman! My lecture will be more specifically about fictional canon in regard to superhero comics as viewed through the lens of the character Batman. If any fans of the Real Batman Chronology Project or Discontinuity want to come meet me in person, hear what I have to say, or check out the festival, try to come on out, especially if you live in the area.

July 11, 2015, Schlow Library, Penn State University, State College, PA. See you there!

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Convergence #8: The Status Quo Preserved (And Don’t Let Anyone Tell You Otherwise)

convergence 8 cover

Wow, there has been some BAD internet reporting on the final issue of Convergence. How anyone read issue #8 and thought that all of the old characters from previous continuities are now fair game to use and write about moving forward is beyond me. How any reporters read issue #8 and thought that Silver and Modern Age characters would now be apart of the upcoming DC line is just plain nuts. (Plus, there are plenty of non-continuity books—especially digital-first stuff—that allows for such tales to be told anyway, so why have a freak-out even if it were true.) Below is a literal synopsis of what happens, but a small caveat noting that there technically are a variety of different ways to read this issue. Things are extremely unclear (deliberate or not), but here’s my take.

Brainiac wishes to “return to what he was [before Flashpoint]” i.e. a less cancerous/poisoned volatile god dude. In order to do this, Brainiac must save the multiverse, which has cracked wide open and is beyond repair and headed toward death thanks to Telos being turned into a pressure cooker. Saving the multiverse can only be done if Brainiac is able to “channel the temporal energy within Telos and return [all the displaced characters] to [their] homes” i.e. their correct timelines. “It is the only way to reset the multiverse.”

However, the original Crisis blocks Brainiac from sending everyone home because it is “too strong. If it is not changed the multiverse will again collapse into one universe.” This, I’ll admit is a confusing part, but I think that in order for Brainiac to return everyone to their rightful timelines, he has to do it the same way he stole them in the first place, by swimming down time streams from Vanishing Point. Crisis being “too strong” means likely that Brainiac can’t slide past it due to its massively important chronal impact, which prevents Brainiac from properly returning everyone home where they belong. Pre-Crisis Flash and Supergirl respond to Brainiac’s complaint by saying that they know their fates i.e. that they will die to save the world: “If this is the only way to restore the multiverse and save everyone, we’ll do it like we did it before.” This means that Flash and Supergirl understand Brainiac to mean that they must go back and repeat their actions—fighting to the death to preserve the multiverse. Yes, there is a major retcon at work here. Modern Age Superman (and Lois and his baby) and pre-Zero Hour Parallax Hal Jordan go back and make an impact on the original Crisis. They “prevent the multiverse from collapsing,” which basically means that they work from the shadows to ensure the status quo returns in our present. Crisis goes down virtually the same. After all, the multiverse wasn’t really destroyed during the original Crisis anyway. Convergence is simply cementing that idea. While everyone was meant to think that Crisis smashed everything into one Earth, from our point of hindsight here in 2015 knowing that Zero Hour, Infinite Crisis, 52, Final Crisis, and Flashpoint would later occur, we know that there always was a multiverse (hidden or not). So what if the original Crisis is now retconned—it doesn’t change a thing in the long run.

Brainiac then says, “Many of you will return to your deaths… to worlds with no tomorrow.” (Everyone that he has taken, if they go back home, will return to a doomed timeline.)

Modern Age Superman then says, “Don’t send us back to our timeline. Send us with them, Brainiac.”

Brainiac explains, “You must go back to the first Crisis and prevent the collapse of the multiverse. THEN EVERYTHING WILL RESET AND RETURN TO WHAT IT WAS BEFORE I BROUGHT YOU ALL HERE.” Return to what it was before I brought you all here—this means return to the status quo right before the cities were stolen, essentially rendering Convergence down to a tiny blip of little consequence on each timeline. (The real question here is DOES WHAT HAPPENED UNDER THE DOME STAY CANON? Sure it’s just a blip on the radar, but it was a full year spent outside of time and space. For these characters a year of STUFF happened, and some of it pretty damn huge. Superman and Lois having a baby, Nightwing and Oracle getting hitched, Golden Age Robin becoming Batman, several important villains and heroes getting killed, etc… )

The next double splash shows the old pre-Crisis, pre-Zero Hour, and pre-Flashpoint versions of various Earths and their returned status-quo Multiversity Map equivalents for the New Age/New 52/DC You. “EACH WORLD HAS EVOLVED BUT THEY ALL EXIST.” And Brainiac is restored on Earth-0. The versions from old timelines that we’ve been shown in Convergence are ghosted-out. Gone bye bye. Long live the Multiversity Map. Long live the DC You.

Why anyone would want the characters from old continuities returning into the fold makes little sense. Talk about what a clusterfuck that would be. Enjoy your old comics! Show your protest by not purchasing new books if you don’t like them! The 52 Earths of the current Multiverse (i.e. the ones from the Multiversity Map) have been reinforced by Convergence. You won’t see a Golden, Silver, or Modern Age Superman again. Sorry, fans.

This is Tom King telling us that the new 52 Earths from the Multiversity Map represent everything from the old DC of yesteryear. He’s essentially saying that if you liked all of the great stuff that DC had to offer you in the past 75 years prior to the New 52 reboot, then don’t worry because everything that is new reflects the ghosts of the old continuities. They are truly dead, but what remains holds their spirit in new “hip” ultra-paneled costumage and hopefully-not-too-grim-n-gritty attitude. Whether we buy into that or not is a different story all together. A very different story.

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Convergence (2015) 008-017

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Futures Ending

here to help
Welcome to another two-person round-table discussion/review of the DC weekly series The New 52: Futures End, in which a definitive future for the New 52 was shown, erased, rebooted, and then shown to be quite similar to what it previously was anyway. Of course, this being a weekly series, it took nearly a full year to get us from Point A to… Point A.2. Futures End began with New York City blown up and with the evil Brother Eye in charge. Futures End ended the same way, at least ostensibly. Both the esteemed Paramvir Singh Randhawa and Collin Colsher were strong advocates for Futures End for many, many months. But with a perplexing clunker of a conclusion, let’s see how they feel now that all is said and done (or not said and done, rather).


Hi again, Singh. Let’s get right down to brass tacks. Start us off, why don’tcha?

Thanks, Collin. Unlike Batman Eternal or Earth 2: World’s End, The New 52: Futures End had one thing going for it: the ability to do anything. Therein, however, lay self-destruction as the series proved too popular for its own good. And after a while it became clear to DC Comics that this storyline needed to continue. Which storyline? The Batman Beyond one, of course. And what better way to do it than by pulling a twist: thirty-five years from now, New York City is still blown up and Brother Eye is still in charge. Not only did this make the connection to Convergence unclear, but it also left people with the question: “Why did we read the story if the bad guys win?” Yeah, I guess we’ll find out how Tim Drake fixes the Bugs and disconnects Brother Eye when the new Batman Beyond follow-up book comes out, but what made this book worth it? The only events that we gave a damn about got wiped out.

What I appreciated more than the art or the storytelling of Futures End, something that was perfect until the very last issue, was the thematic value: the trope of “What makes a hero?” To Brother Eye, it is something that can bring order among the chaos of humanity. To Ronnie Raymond, it is someone who should be willing to be selfless, something Raymond himself struggled to be. To Dr. Yamazake, it is somebody who is selfless but at the human level of the normal people. To Superman, it is being there when needed. Yet all of this, all of this beautiful thematic value, something which I rarely ever read in a mainstream superhero comic, was tossed in the trash by letting Brother Eye win. Say Tim Drake arrived in a future with statues of the Justice League but found New York City flooded, readers would not mind it. Say Tim Drake returned to five years later and found a happy ending with Madison, readers would not be offended. Instead, when I read the series back, I feel like I should really only read the Stormwatch and Batman Beyond arcs because everything else is retconned.

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Futures End #0: ERASED

futures end 48

Futures End #48: NEW FUTURE… notice anything that looks the same? …Although, this is just New York (so far) and the prior version was the whole planet under Brother Eye’s thumb, so there’s still some hope?

The reaction to the end of Future End has been extremely hostile. And I can’t say I’m surprised. A lot of reviews are very harsh and definitely written in the angry moments immediately following the final issue. We’ve got a few weeks of distance to ease the pain, but even with the healing power of time at our disposal, there are still a few plot-holes that just won’t stop bugging me. Rather than delve into them (which would be like asking questions in a letter at this point), I’ll try to first assess the series based on its strengths… and then address its ultimate failure and loss of credibility.

Throughout the majority of its run, I really enjoyed Futures End. If I think back and imagine how I felt reading Futures End a mere month-and-a-half ago I should actually rephrase “I really enjoyed Futures End” to “I LOVED Futures End.” It’s so frustrating because the best thing about Futures End was how, at first, it successfully took advantage of the weekly format—every story arc (and there were many) progressed naturally and intersected with each other nicely, the passage of time was explicit and well-paced, the story beats ebbed and flowed accordingly, and we had several nice transitions and climaxes as a result. But then all was ruined in the last issue, which served to nullify all of the good stuff before it. That’s why it’s a mega bummer—a damn shame—that such a solid awesome series went out the way it did, if only for the fact that people will likely forget how great the ride mostly was along the way. A commenter on Martin Gray’s site said it nicely about the end of Futures End: “Suddenly every story counts, but none satisfy.” To go from such a tight, engaging narrative to a weird ending that makes very little sense any way you spin it (a plot-holey time-bubble shield around Terrifitech??) really mystifies me.

In a sense Futures End was the polar opposite of DC’s other big weekly, Batman Eternal. Eternal was abysmal at best for an entire year, a slog to read through, but ended with a crowd-pleasing little wrap-up. Futures End was very enjoyable and well-crafted for nearly a year and then shit the bed at the end. To discredit my own comparison one sentence after making it, Eternal, despite its final issue happy ending, actually did something similar to Futures End by acting as a bait-and-switch for another title. Instead of Batman Beyond, Eternal led straight into Batman‘s “Endgame,” giving us the same feeling of “who cares?” or “why did I bother?” It’s dawned on me that ALL THREE of DC’s weeklies for the past year (this includes the Earth-2 whatever meh series) have been pretty damn bad. Weekly titles are a gamble that I’m starting to think aren’t worth the risk. Seriously, the only good weekly I can think of off the top of my head is 52.

Futures End #47

Futures End #47

Futures End NEVER should have ended in a way that made the entire series a huge zero issue for a Batman Beyond reboot. Brother Eye wins in the end? Tim changes the timeline, but nothing really changes except for a few superficial things? “THE END, but continue reading a new thing to see what happens”? A series must be critiqued on its own merits, as it stands alone. And what we have here is a series that leaves me underwhelmed but thinking “okay, there’s a lot of interesting things that can be done with the new Batman Beyond series.” Unfortunately, that series has yet to come. This was the one I was reading and it left me with a bad taste in my mouth.

It’s BAD, but can so much of Futures End really have been all for naught, a big stinkin’ waste of time? Alternate reality characters from erased timelines have long been adapted into the primary timeline—think of Scorch from “Emperor Joker,” Paladin from “Second Coming,” the Despot Batman and Despot Superman from Superman/Batman, and more. I’m still holding out hope that a lot of the characters from Futures End, even though they’ve been erased, will still be used in some capacity. BUT AGAIN, I can’t retroactively say “Oh, cool they wound up using that or doing something with that, so I think Futures End is a five-star series now.” The series is done and it must be judged by what happened in those 49 issues.

Singh, I know you like to try to get into the mentality of the writers and publishers in regard to narrative. Do you think that this creative team had something else in mind for the conclusion, but editorial forced a change?? Is that possible? The ending literally makes no sense.

Yes, I do believe they changed the original ending. The best part about The New 52: Futures End was the synergy between the creative team. Each writer had a specific character to write and it worked incredibly well. When Tim Drake communicated with Terry McGinnis you could tell within the conversation that it was two different writers, Jurgens and Azzarello respectively. That’s why the ending, which was a product entirely by Jurgens, came as such a surprise. Futures End self-destructed due to its own success. While I’m positive that the original ending was changed, I’m not sure if editorial forced the change, although it is entirely possible. Going by the teasers released by Nerdist in October 2014, everything up until Tim becoming the new Batman is teased. Then in December 2014, the March 2015 solicitations come out and issue #48 has the solicitation “Eye Am Your Future.” So from what I can gather, everything up until #47 went according to the plan and maybe after that, DC realized that this series had become successful. What if it was always part of the plan? The title of the series is Futures End, so we knew at the very beginning that every single alternate future would be affected and now the definitive future we have is the Great Disaster Future. Undoubtedly I am excited for Batman Beyond, but that is not the point. The point is that there is no resolution to the story. Everything about this series, from to the art—glorified by the coloring of Hi-Fi—to the writing and storyline was near perfect. This is a classic example of how the ending can ruin something so profoundly.

Futures End is not alone in this regard. Ready at Dawn’s 2015 PS4 video game, The Order: 1886, is one of the most impressive video games graphically and boasts a wonderful game-play system, except, the way they ended the game, nobody can even really enjoy it. We all know Judgment Day can’t be stopped and it really makes me wish that Terminator 2 had its intended opening, a scene where Skynet is disabled but, in its last moments, sends a Terminator back in time. Futures End should have been like that: Brother Eye is convinced that it should not let Earth-2 refugees arrive on Earth-0 so it re-powers the Time Band and sends Tim back to the future. Maybe the future isn’t changed for the better, but should have at least been different from what we had initially.

Then there is the entire story of Brainiac and Brother Eye. While it is cool that Brainiac only arrives to “save” the population from the Brother Eye Future and Brother Eye is only activated to save the population from Brainiac, it does not mesh with what we previously had. Who was Brother Eye’s new programmer? Personally, I’ve just resigned myself to saying King Faraday, whose association with Brother Eye is another unresolved plot thread. Ultimately, we could stay here and talk about what went wrong for hours and hours, but I still enjoy the series for what it was. I mean, in Terry McGinnis we found a different, more passive-aggressive Batman. And for the first time in five years, I have now read a Tim Drake story that I thoroughly enjoy. The Fifty Sue plot thread was very enjoyable and, yes, while it does get negated given that all the elements required to let it happen no longer occur, I can still remember laughing at her blowing up a miniature Slade Wilson. The best thing I can do deal with the disappointment related to the loss of retconned Futures End elements is to simply remember the great Futures End tie-ins released in September 2014 and remember how, through The Multiversity Guidebook, Grant Morrison wrote the rules that allow everything to be canon.

I wonder if the creative team had a few more issues, they would have given us a better ending. Maybe the same ending, but a less bitter pill to swallow. Like maybe, we would’ve still gotten a fucked up Brother Eye Future, but one where the heroes are still kicking ass and on top of things despite Brother Eye’s existence and power. Now, bear in mind that Batman Beyond might actually deliver that world to us, which is great, BUT Futures End failed miserably, as we’ve pointed out, in this regard as IT was supposed to have done that.

It’s pretty crazy how this tossed-aside and virtually worthless erased timeline built up over the course of a full calendar year has some really key important stuff coming out of it in regard to “Continuity with a Capital C.” I mean, Brainiac God is defeated on this dead timeline, directly resulting in Convergence! Tim Drake as Batman (for the first time ever) is born from this defunct timeline and spewed into mainstream canon! The Earth-2 heroes are spared a gruesome death thanks to actions that occur on this erased timeline! And there are even a few other things of note as well. Again, the statement “Everything Counts But None Satisfy” rings so, so true. Or maybe more apropos: “Everything is ostensibly important and affects canonical continuity, but aside from that who gives a shit and who fucking cares.”

Let’s say I get on-board with the IDEA of Futures End. And I definitely can. Hell, I enjoyed the idea for almost a year! The big problem is that, when the idea fails, it crashes and burns. That being said, if this was always DC’s concept for Futures End, WHY decide to have it be a weekly series that lasts a full year!? Instead, why not do this type of story in an economical 7 to 12 issues? If they had, I bet no one would have complained. It would have been a good version of Brian Michael Bendis’ Age of Ultron.

Can there be any redemption for New 52: Futures End if, say, Plastique, Fifty-Sue and her “family,” or other throwaways somehow appear in Batman Beyond? Or will is just be regarded as more of DC trying to sell the idea that Futures End “mattered” somehow, too little too late? There remains a possibility of some positive retro-review action, but I won’t hold my breath. In the end, all we will likely ever have is a forgotten title that amounted to a hill of beans. Any final thoughts, Singh?

We’ve said it all, haven’t we, Collin. In any series, even a long-running one, everything can be good until literally the last issue, which has the power to negate all the goodness prior. All in all, Futures End is a perfect example of a story that had top notch writing, wonderful art, and a great big-event-feel that completely shit-canned itself with its last issue.

a lie

The penultimate issue: A bold-faced lie.

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Convergence Time

convergence #1

Convergence #1

Convergence has just begun. An über version of Brainiac (all other versions of Brainiac are mere emanations) and his sentient planet Telos (don’t call it a Blood Moon) has been able to travel to previously defunct comic book continuities, literally dig up a city from a point on each former timeline, and remove it to a place outside of time and space where it becomes an artifact—part of a grand “collection.”

A missing piece of an old defunct timeline should likely equal a damaged timeline or changed timeline, which brings about the obvious glaring question: “Will Brainiac’s time-traveling dome-collection really ALTER previous continuities!?” Someone recently asked me further, “How the hell does all this work? Telos says he waited ‘until the last moment before oblivion’ when collecting the worlds. But if all these cities were suddenly domed-up and transported, how has this not been referenced in all the glimpses of the future we were given in the pre-Flashpoint DC universes? How did those futures happen?”

I’ll be the first to admit that the true physics and chronal science of Brainiac’s “collection” procedure are still unknown to me and possibly not fully understandable. Brainac’s meddling very well could and very well SHOULD alter past timelines. The futures of those retro timelines might indeed possibly have to be amended. After all, if some giant menace appeared and ripped away an entire city in 2011, there would surely be repercussion in the form of a changed chronological order that would follow from 2012 onward, no?

In order to even attempt to make sense of any answer we must first understand, from a narratological perspective, HOW Brainiac and Telos are able to steal cities from old timelines in the first place. Brainiac has gained access to Vanishing Point, a place outside of time and space where “bio-organic Bush Robot Archivists” chronicle and preserve the histories of infinite timelines. When all is said and done, the complete record of any universe that ends is packed into a black hole for protection like a cosmic “message in a bottle” or an artifact ready to be placed onto a sealed pedestal at a museum. It is via Vanishing Point that über Brainiac is able to travel the timestream, picking from defunct timelines of his choosing, and “collecting” cities mere moments before they are erased from continuity.

But even knowing this part of the story is not enough to get us the knowledge we seek. We still need a fundamental understanding of how time works in DC Comics. Conveniently, there is a scene in The Return of Bruce Wayne #2 featuring some Archivist Bush Robots at Vanishing Point, which shows everything we need to know about DC’s concept of time/timelines quite succinctly, and all in an economical three-and-a-half-pages! By examining this scene and extrapolating further we can then tackle our question at hand and figure out whether or not Convergence really will affect previous continuities’ timelines.

In all of DC Comics, each timeline is a permutation of the current New Age (formerly New 52) timeline, of which there are near infinite permutations that date all the way back to the inception of DC Comics in the 1930s. These previous timelines are archived snapshots or data, protected “museum artifacts,” from which Brainiac has looted tiny slivers in the form of literal cities. Put yourself in the shoes of a Bush Robot and you’ll see how Brainiac’s looting truly functions. Time in DC comics (and some string theorists and other modern scientists think time works this way in REAL LIFE as well) flows in such a way that it exists (sorry to get all True Detective on you) as a flat circle. Variations of this concept, along with M-Brane Theory, the B-theory of Time, and some views regarding Eternal Return are all alluded to in the Vanishing Point scene with the Bush Robots.

theROBW #2

The Return of Bruce Wayne #2

Basically, every timeline has a beginning and an end and is constantly cycling through itself (sort of like a Moebius strip). Each of these timelines has an anomalous point from which it is destroyed/made defunct. (For the Silver Age, for example, the original Crisis is the anomalous point. For the Modern Age, the anomalous point is Flashpoint—although there are several technical anomalous points that occur before that i.e. Zero Hour, Infinite Crisis, etc…). The anomalous point always exists somewhere in the middle of the timeline (or, actually, from an ontological/anthropological perspective, pretty early-on in most timelines). Because it exists in the middle doesn’t mean that everything that happens after it (i.e. the future portion of the timeline) ceases to exist. If it helps, apply the concept of “Irreducibility of Tense” to any timeline: Say, for example, we see a comment in a comic book that takes place in the present, which says “the sun is now shining.” Form the statement into a tenseless sentence: “On September 28, the sun shines.” The tenseless form can and should be applied to any point on the timeline being scrutinized. Instead of “Anthro was laid to rest in 38,000 BCE” use “Anthro dies in 38,000 BCE.” Instead of “The Legion of Superheroes will fight the Fatal Five in the year 3015” say “The Legion of Superheroes fights the Fatal Five in the year 3015.”

Return of Bruce Wayne #2

The Return of Bruce Wayne #2

With all of this in mind, Brainiac stealing Gotham and the Modern Age heroes from a “dead timeline” literally means just that. He takes a look at the whole timeline from beginning to end. With his cosmic sight thanks to Vanishing Point (similar to the cosmic sight that we THE READERS have) he can see that Flashpoint happens when it happens. And from outside of time and space (sort of like where we are in comparison to the comics), Brainiac can simply travel to the point he wants to “collect” his city. This is why Brainiac, on his one failed mission in Futures End, wanted the original “Futures End Future” New York City, because he saw where/when Tim Drake was about to go back and create a new timeline.

So Brainiac and Telos’ appearances throughout the past on previous timelines should create a situation where I, as chronicler of the Real Batman Chronology Project, must go back and amend my old timelines, right?

Let’s first play devil’s advocate and say NO! There is an argument to be made that Modern Age Batman’s Modern Age timeline doesn’t change. The argument being that when Brainiac plucks Batman (and the others) from the exact moment prior to Flashpoint and takes them to a place outside of time and space (i.e. to Telos), the snatched city technically becomes a copy (like when you drag files from folder to folder on a computer). By this model we would have to accept the idea that a ripped copy can’t effect what has already been protected and sealed in a vacuum. In other words, Brainiac accesses a locked computer file and steals from it, but the original file will always still exist since it’s been locked and sealed in a black hole. Brainiac can access and even take from it, but the original finalized timeline can’t be messed with. This is the COPY THEORY in a nutshell.

The other devil’s advocate stance is that the old timelines are still locked-up and untouchable, but once Brainiac defiles them with his anomaly-collecting they simply become wholly new SEPARATE ALTERNATE timelines that reflect the disappearances of their cities. This means we’d have a Modern Age Timeline as it stands PLUS a Post-Convergence Modern Age Timeline as well! This is the ALTERNATE CREATION THEORY in a nutshell.

But let’s discontinue playing devil’s advocate and GET REAL about answering our question. Here’s the big fat fact. Brainiac actually physically appears on the timelines to scoop out his cities. This means that Brainiac must literally show-up to dome the cities on each timeline. This means that in order for a timeline to stay the same, its city must eventually be returned. Otherwise, the timeline definitely has to be changed! Compared to the previous stubborn answers, this is the most blunt and least convoluted, making it the odds-on favorite to wind up happening. BUT, even with a legit front-runner, we still don’t truly know what is going to happen at the end of Convergence. That remains to be seen.

In regard to Convergence‘s basic continuity retconning (i.e. old things that Convergence is totally affecting already), Convergence amazingly has the power to ADD a bit more story to the end of the Modern Age (in-between Batman Incorporated Vol. 2 and Flashpoint AND before Brainiac puts up the dome). Damian is 100% resurrected (even though we kinda knew he would resurrect for the 666 Future to happen anyway). Jason Todd never made it quite into the ol’ Bat Fam like he did post-Wingman in the New 52. A chronal disturbance brought most of the heroes to Gotham right before Gotham’s doming, created either by a hero (maybe Barry Allen) who foresaw the need for power in numbers OR by a manipulating Brainiac and Telos who wanted a BIG catch. Liberty Belle has her baby. Batman wears both his yellow-oval costume and his black-insignia costume? And maybe Ryan Choi was never really killed?

I’m going to wait until Convergence is all wrapped up before I make any changes to previous timelines on my website. As you can see, there are a lot of possibilities. Will things be different? Will old timelines need alternate timelines to go side-by-side with them? Will nothing change at all? Does any of this matter? Only TIME will tell…

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Batman Eternal: Final Thoughts

Review time. Collin Colsher and Paramvir Singh Randhawa discuss the yearlong Batman Eternal weekly series now that its fifty-second and final issue has been published.

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It’s no secret, if you’ve been following my website, that I have had very little love for Batman Eternal. I often think of Eternal as this series that, at its initial inception, was supposed to be this really super fun story that would go for a full year exploring every nook and cranny of the Bat-verse while highlighting every Bat-villain and supporting character. And in a sense, that IS what we got, only it wasn’t fun, it wasn’t well-paced, and it wasn’t well-constructed. Surely what we got was not the intention of the creative team at the beginning. But before I dig into the meat-and-potatoes of the botched narrative, I’d like to separate the art and talk about that first.

The one saving grace of Batman Eternal was its myriad of different artists. The Ian Bertram issue was a personal favorite of mine. With a weekly book, you are going to get a lot of sloppy, rushed illustration, but overall Eternal was able to showcase a plethora of new and veteran talent. Jason Fabok, Dustin Nguyen, Andy Clarke, Guillem March, Alvaro Martinez, and Juan Jose Ryp (just to name a few) all had killer issues. How did the art strike you, Singh?


The art was the best part about Batman Eternal. We had talent from the range of Dustin Nguyen to Fernando Pasarin. The best part was that the cohesiveness that was missing from the writing team, was present in the art team. No matter how different the art was—and yes it was slightly mediocre at many times—it still managed to maintain an adventurous yet serious theme. Eternal #51‘s art under Alvaro Martinez is the perfect example of this. Not only does Martinez manage to depict Gotham City at its worst, he also manages to show fine increments of detail within almost every character. The best part, he does it with a degree of simplicity as well. That first page when we see Gotham burning, Alvaro Martinez shows it beautifully. Cluemaster’s associates are supposed to be an oxymoron, art showing them as simple and weak as opposed to the text box. Alvaro again does this perfectly. When Cluemaster unmasks Batman, the look on Bruce’s face makes me wish the writing in the series matched the level of talent we got from somebody like Alvaro, who I’m surprised has penciled only five issues for DC so far.


Batman Eternal #51


Let’s now address the narrative of Batman Eternal. I think you and I have a lot more to unpack in this regard. The title’s biggest problem by far was that it violated its own timing over and over and over while simultaneously ignoring literally every other Bat book. Weeks would pass (as we’d be told in the comic), but it would soon register clearly that action was continuing from a mere day or two ago. Then we’d be told it’s January when it could only possibly have been October a few weeks ago. These hidden ellipses are not just me nitpicking. These things RUIN storytelling—especially in a shared universe. I read and re-read these issues and tried to make a calendar of events that flowed naturally, following the beat of the story and the references to time (of which there are many), but alas I was unable to make heads or tails of how the passage of time was working. In fact, in order for me to get from issue #1 to #52 I had to insert several MONTHS worth of nonexistent ellipses that can’t really exist the tight way the story is written—Eternal never stops to breathe, never allows for any other stories to really fit in, and tells us that time has passed but actually shows that time hasn’t. Heh, maybe THAT is why it’s called “Eternal.”

I know, Singh, that you’ve been critical of the STORY of Batman Eternal maybe even more than me. What are your final thoughts on its narrative now that it’s all said and done?

Eternal #40


The best issues of Batman Eternal are the first four. Not only is the art extremely strong, but the narrative gives the series a clear direction and makes the reader excited for all fifty-two issues. While many can call Batman Eternal a Scott Snyder story, in reality it’s a Snyder story as much as “The Marshall Mathers LP 2” is a Dr. Dre album. Sure, Dre has a strong influence given his strong position at Interscope Records and close friendship with Eminem, but he is really just a producer. That is the position that Scott Snyder takes for Batman Eternal. In the first four issues, it is not hard to see Snyder’s writing and the fact that he has a direct impact on the narrative. The story built up in those first four issues really does belong to Snyder.

For Eternal, Snyder put together a strong creative team that included himself, James Tynion IV, John Layman, Ray Fawkes and Tim Seeley. Each one of these writers had proven themselves great writers who had consistently crafted great stories—except Tynion IV. Yes, one could argue that Tynion IV’s backup stories are excellent, but in actual series Tynion has fallen short on his work with both Talon, which was entirely dependent on having Snyder’s name on the cover, and Red Hood and the Outlaws. Make no mistake, Eternal was strongest in the beginning when the point of the story was clear: tell a great story about Batman and his supporting cast that gets you excited about the tease, but more excited on the path there. It may sound harsh for me to place all the blame for Batman Eternal coming up so short on Tynion IV, but the truth is the most talented writers are listed as consulting writers.

It’s clear that, after establishing the story, Snyder’s contributions became tangential around the tenth issue. This is when things began to go wrong for Eternal. With Snyder focusing more on his other work and John Layman leaving, the team effectively lost two main pens that wrote the strings of continuity. It’s after this point when Eternal starts having chronological/continuity problems both within its own narrative and by contradicting other Batman books. After all, was Mr. Combustible not killed in Arkham War? Was Roadrunner not killed a few issues ago? Why isn’t this story addressing what Peter Tomasi is doing? When will they reveal the main bad guy? Around issue #18, which I believe was Layman’s last issue, these problems started to arise. No worries though, because Hush comes in soon after, right? Wrong. We get twenty more issues that actually do a fairly good job of progressing the story, but it’s the last twelve issues that really bother me. At issue #40, everybody started wondering, when will they reveal the main bad guy? At this point, Ray Fawkes and Tim Seeley may have been writing their own titles, Kyle Higgins may have joined in late, and Mike Marts may have left, but surely letting Tynion IV be the man in charge had to be a last minute decision, right?

Eternal #36

Batman Eternal #36

Batman Eternal should have been the kind of story that reveals its main bad guy in the last five pages but is still good in spite of the late reveal. Those aforementioned editorial issues and placing Tynion IV at the head of the game plan, though, just may have placed too much pressure on everyone involved. And instead of writing a story about Batman and his supporting cast’s great journey during the Gotham Cold War, we got twelve-plus issues of filler. In fact, given that Snyder started writing “Endgame,” which is set after Eternal, one could argue that we got fifty-two issues of filler. Honestly, “Endgame” showed that, other than a change in scenery, there really is nothing fundamentally important arising from the events of Eternal. I can’t decide what frustrates me more, that from issues #36-49 Tynion IV was just treading water when he could have written a fantastic story about the Gotham City villains, or that Snyder invalidated a story he endorsed because the only way he could make “Endgame” work was by placing it after Eternal. Don’t get me wrong, all in all, Eternal as a concept isn’t a bad idea, but it really lost its way after the Hush reveal. Interestingly, in spite of all this, if one looks at web comments and other reviews week-to-week, it appears people were more satisfied with it than say Futures End because it, one, kept things continually happening (even though this ruined the element of surprise) and, two, concluded on a relatively satisfactory upbeat note.

Eternal #22

Batman Eternal #22


After a literal yearlong barrage of bogus red herring storytelling that went absolutely nowhere, Batman Eternal went out with a whimper, although, as you just said, Singh, I presume most folks enjoyed it on account of the neat wrap-up and happy ending. Wow ‘em in the end and you’ve got yourself a winner, eh?


Your comments above are true: Batman Eternal‘s pacing was completely off. And, again, it may sound unfair to place the blame on Tynion IV, but one has to note how ironic it is that the issues that have the biggest continuity errors like with Batwing and Corrigan, are Tynion IV dominated issues. One can look at reviews online, but I’m going to point out reviewer FHIZ from GothamSpoilers. Read his reviews for the series from the first issue to the last. You see huge excitement and then by the end of it, you see a sort of relief that the series is over.

Like I’ve said before, who the main bad guy is should not have mattered… but it did because when you give a project this big to that green of a writer, chances are he is going to get stuck and stumble. I feel like I’m not hitting the point directly, but I’ll try my best. Did we get a conclusion to any main plot? After reading the series, can you tell me who hypnotized Gordon? They say it was Cluemaster, but what about Dr. Falsario and what about Carmine Falcone’s knife? Why were the nanobot infected kids on the train when Hatter clearly wasn’t working for Falcone but just accepting the invitation like the Roman? Why did Dr. Phosphorous get haunted by the Deacon and why did he start working for the gang right after? What was the Ten-Eyed Man doing and why was Jade McKillen all over the place? What happened to Vicki Vale’s flashdrive? There were three main stories in Batman Eternal before the series started stalling for time: the GCPD, the Arkham Infestation and the Nanobot Infestation. Let’s see: In the GCPD story, a gang war breaks out and Gordon goes to jail so Bard collaborates with Batman to take down the gang war. Bard stops the gang war, Batman doesn’t shake his hand but then he does, then Hush is revealed to have somehow manipulated Jason Bard, and then Bard injures his leg but he disappears for like eight issues and it’s better again, and then Bard decides to retake the city and then retires. I could go on about the other main plot-lines, but that should be an indicator enough about how clustered it was. Like I’ve said, we should have gotten a story where each week we’d be excited to see Batman take down an enemy of his but instead we got a story where we’d get frustrated at seeing Batman not fight the Big Bad.


My only response to your last few statements is agreement about so many unanswered questions (i.e. straight up PLOT HOLES). I was particularly annoyed by the back-story of how Bard came to hate Batman and then came to Gotham to destroy Gordon. It made no sense at all. Very forced, contrived, and confusing, to say the least. Another moment in my mind is when they accidentally labeled Sebastian Hady as “William Hady.” These guys didn’t seem to give a shit about this arc. A real disappointment to all Bat-fans. Final thoughts, Singh?


My final disappointment is that not only did these guys not care about this arc, they treated it like just another pay cheque. Within the creative team, there was no cohesiveness, something that was even displayed in the less popular weekly Earth 2: World’s End. One issue Kyle Higgins was writing Tim Drake and then Tim Seeley, both showing inconsistency. At least in World’s End, Daniel H. Wilson was writing Mr. Miracle the whole time. A better example would be Futures End: Brian Azzarello was writing Superman and Terry McGinnis the whole time, so when Superman talked to Shazam and Terry talked to Tim, one could clearly see that it was Azzarello writing in response to what Jurgens had written and so on. These moments, which make a weekly an emotional journey where writers get attached to their characters and actually write with heart, were missing from Eternal. It sucks that with such a great art team, we had such a weak writing one.

eternal 51eternal 51 #2


One last shill for Singh: Check out his Youtube channel at Knight12ify and visit the Facebook page for the video game Mesozoica, which he is currently developing. Thanks!

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Comic Apocrypha: Liefeld & Platt’s PROPHET

Prophet #1

“Prophet #1” by Liefeld (1992)

I’ve always been tickled by the idea of what the inner office workings of Image Comics must have been like in the 1990s. They were the golden gods, the darling boys of the industry. Totally untouchable, no matter what crap they were putting out. Kids (including me) ate it up. (There was some cool stuff published by Image back then, but, hey let’s be honest, in hindsight most of it was junk—a mega-BROey style-over-substance response to a general stagnation in mainstream superhero sales at the time.) Eventually, most of the big Image top-selling books of the time period faded away and disappeared. However Rob Liefeld’s Prophet is a prime example of an Image Era book that still remains. There aren’t many others. Spawn and Savage Dragon immediately come to mind, but beyond that, not really. It’s Prophet‘s continuation that is much more interesting than the other two mentioned books, mainly because of how weird and different the new title is compared to the old.

prophet 45

“Prophet #45” by Graham/Roy (2014)

Brandon Graham and Simon Roy’s Prophet is one of my favorite ongoing titles, amazingly spun out of (although now completely unrecognizable as being attached in way, shape, or form to) Liefeld’s original 90s creation of the same name. Looking back at those old Prophet issues, one can’t scoff and laugh at the wildly and abnormally proportioned bodies, over-stylized over-sexed pencil-work, and shabby Hollywood action bloodbath-to-the-max storytelling. How the old Prophet is even related to the new makes very little sense. What is even more interesting beyond the comparison of the old version of Prophet and new version of Prophet—(BTW the new version is NOT a reboot, it’s actually a continuation of the story!)—is the apocryphal behind-the-scenes stuff that apparently went on with the original in the early 90s.

In the glorious Image Age of the early 90s, Liefeld’s signature art style was at the center of everything, including his own baby Prophet. However, Liefeld, spread thin by numerous comics, hand-picked a replacement artist that could essentially mimic the Liefeld style. Thus, journeyman Stephen Platt (AKA Splatt for short) excitedly took over the illustration reins pretty early into Prophet‘s run. Nearly abysmally indistinguishable (except for the inclusion of feet, of course), Platt began drawing Prophet from front to back with the full support of writer Liefeld. Under the guidance of this dynamic duo, the book took off (like everything Image at the time) and starting bringing in mucho dinero.


Quickly, however, things began to turn sour between Liefeld and Platt. Platt was soon off the book just as soon as he had come on board. Rumors spread about clashing egos and missed deadlines, but nothing of detail could be drummed-up. In recent years, the vault has been opened, so to speak, and decades of relative silence on the subject have ended. Beyond infighting and disagreement about Prophet in general, supposedly, Platt couldn’t hit deadlines and couldn’t be bothered to be rushed, considering himself a high caliber artist in the vein of… wait for it… none other than the great Jean “Moebius” Giraud! Not only that, Platt was making $40,000 PER ISSUE to draw Prophet!! Think about that. Someone, in the 90s, was making $40,000 to draw the above pictures. This is IMAGE MOOLAH. Crazy.


Some of the best quotes about Platt during this era can be found in a wonderful Rich Johnston article from Bleeding Cool, entitled Fanboy Rampage: Rob Liefeld Vs Stephen Platt. The story of the meltdown between Image Comics and Stephen Platt says a lot about the industry in general and how things have changed in nearly twenty-five years. That we could go from the Prophet of then to the Prophet of now is quite amazing. Also, the fact that we can reasonably believe any of the chicanery that supposedly went down at Image in the 90s says a lot about how nuts things were back then. In a very strange way, it kinda makes it easier to appreciate BOTH versions of Prophet, doesn’t it? Hmmm… maybe not, haha.

Recently, I’ve been working on an effort to assemble a bi-monthly comic-strip (written and illustrated by myself and awesome Philadelphia artist Alex Agran). Nothing has been published yet, but I hope to get the ball rolling soon. I’ll leave you with a work-in-progress sneak peak of a comic/idea that I’ve been scribbling. This was obviously directly inspired by this blog post. Set amidst the backdrop of the golden era of Image and inspired by the “true story of Liefeld and Platt’s Prophet,” I give you a farcical chronal-jumping psycho-vision into the past via an episode of TIMEBRAIN.


“TIMEBRAIN #1” by Collin Colsher

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Super Spies & Super Gods: Reviews of ZERO #15, MIND MGMT #31, GRAYSON #8, & THOR ANNUAL #1

No matter what flak they may receive (or deserve), there are some mainstream comics that are still worth a damn. I read four recent single issues, each published by a different BIG comic book company, and all of which wowed me to such an extent that I thought I’d feed the content machine that is the Internet.


Zero #15 (Image)
000000000000 ZERO!
Easily one of my favorite single issues of the year, Zero #15, a vessel through which superstar Ales Kot increases his worth, is a tripped-out, psychedelic ride through time and space that has to be read (and re-read) to comprehend–(and even then things are still a bit fuzzy but in the best possible way). If you are willing to accept this challenge, Kot delivers a conceptual masterpiece. The inter-cutting from Tangiers in the 1960s to the UK in the 2020s is amazingly handled, and done with incredible panache, mirroring the cut-ups William S. Burroughs (a character featured in this very story) so famously created with Brion Gysin in the 1950s. Kot’s stars, Ginsberg Nova and Edward Zero, we learn, are the possible products of—in fact, existing only because of—the cosmic wanderings of a psilocybin-demented Burroughs (tripping balls and pounding typewriter keys in our reality). Kot’s historical fiction—mixing elements of Burroughs relationship with Alan Ginsberg in the Interzone, hitting important notes of his darkest moments that inspired Naked Lunch and Queer, and ultimately centering on the tragic shooting death of Joan Vollmer—adds an Earth-Prime meta-angle to the already dense narrative. But what makes this issue damn-near perfect is the inclusion of the fantastic Ian Bertram, IMO one of the best current working illustrators in the biz, who FINALLY brings his stuff to Zero. This deadly combination of Kot and Bertram, long overdue, leaves me craving more. These two were made for each other. Their time-twisting acid-trip becomes a bizarre origin story that bridges the gap between the occult and spy novel, captured visually by Bertram and spilled onto the pages in ‘zine-like illustrative, multi-colored (and black-and-white) weirdness as Burroughs and Ginsberg chat through the smoky haze of a seedy Moroccan dive bar. Simultaneously, Bertram pencils Ed Zero, who struggles through the grimy, grotesque future, a sick vision of Will Burroughs’ mind-fuckery depicted in Cities of the Red Night. Actually, there are parallels and connections in Zero #15 to Place of Dead Roads, Cities of the Red Night, The Western Lands, Queer, and Naked Lunch both narratively and visually that are so impressive and complex they warrant further analysis—although, even after multiple read-throughs, I’ll be the first to admit that I’m not quite ready to figure out the intricacies as of yet. Annotations to come? The occult, viral epidemics, sexual depravity, magickal vice, the Kali Yuga, and various areas of Hindu mysticism—all things central to some of Burroughs works—are definitely represented in Zero #15. Exactly how they all fit together is something else entirely. But the question is precisely what makes Kot and Betram’s Zero #15 so interesting and so deep, a comic book that gives even Grant Morrison’s metafictive hyperreality in The Multiversity a real run for its money. This is a damn good comic that does what good comics should: Reflect upon interesting subject matter while uniquely pushing the creative envelope to new heights.

Mind MGMT #31 (Dark Horse)
harry lyme and the coconut
Matt Kindt’s signature watercolor technique, frantic sketchy pencils, and striking inks all keep getting better and better with each issue of this amazing series. Mind MGMT #31 is no exception. So much STYLE and even more SUBSTANCE here. As the overall story nears its grand finale, this book continues to give me chills and make my jaw drop with unique layouts that come eerily to life by appearing in the last way you’d expect them to appear. Meru is still one of the best characters in comics today and her story—it really is her beautiful story despite the variance of unique characters that proliferate the pages of this series—shouldn’t be missed. A semi-resolution with Harry Lyme happens right on time, highlighted by a breathtaking splash-page with brush-strokes of vibrant purple sky and the aforementioned character in a redemptive pose, clad in symbolic medieval armor. There’s a great deal of meta-narrative here in the form of the story taking form within itself as a comic book as well. The meta-narrative has always been present in Mind MGMT, but this is taking it to the next powerful level of literalism. And it works wonders. The Salvador Dali excerpt in the “Triple Indemnity” back-up is a neat addition as well, adding to the high-stakes nature of the narrative.

Grayson #8 (DC)
grayson #8
Peter Tomasi has been running with Grant Morrison’s ball for the past three-and-a-half years. And while I’ve personally enjoyed Tomasi’s work on Batman & Robin, no one has shown a true grasp of what Morrison’s Bat-verse represents better than Tom King and Tim Seeley. What the hell happened to Kathy Kane, leader of Spyral? Why has this weirdo Mr. Minos been in charge of the game? We finally find out and it’s masterfully done. A new status-quo for Dick Grayson is ushered in for the post-Convergence DCU, leaving any reader with a heart and soul eagerly anticipating the next round of intrigue and mystery. The twists and character development fall nothing short of anything seen in John Le Carre’s best novels. This is the spy book that superhero comics deserve! Mikel Janin and Jermoy Cox are majorly on-point (as always), breathing extra life into the title with the expression of fluid movement in fighting bodies and detailed realism in facial countenances. Kathy Kane is framed perfectly with subtle glances at her “Bat-makeup kit” and dark ruby lips peppered throughout her scenes. These trademarks of what negatively defined and limited Kathy Kane as the campy Batwoman of the 1950s are now used to define her as the mysterious feminist, post-modern spy-queen, previously only seen briefly and never fully fleshed-out in Morrison’s Batman Inc run of a couple years ago. King and Seeley have re-introduced (and re-invented, in a sense) Kathy Kane, who is now immediately one of the most badass characters DC has to offer, a character that only increases her own value by the sheer fact that you won’t see much of her. Future Kathy Kane appearances could have the same feel as when any of Neil Gaiman’s Endless would show up in primary universe DC comics back in the day. Excellent issue on all fronts.

Thor Vol. 4 Annual #1 (Marvel)
Super Gods
Thor Annual #1 is a this brilliant trio of tales, showing different shades of Marvel’s Norse God of Thunder: Thor as Ultimate Deity, Thor as Humanist Rookie, and Thor as Old School Bad Boy. Jason Aaron’s “King Thor” opens the Annual, a jaunt into the Dead Earth future of the gray, elderly Old King Thor. This Dead Earth is a place/time that we’ve seen before in Aaron’s hall of fame Thor run, but now playfully illustrated by Conan‘s own Tim Truman. The sheer wonder of Thor’s granddaughters bringing a tear to the old curmudgeon definitely tugs on the heart-strings, but it’s the narrative scope of their gift that makes Aaron’s story a real winner. This is Marvel’s Earth, long dead, a wasteland of dust and forgotten memories—with only sad Old Man Thor to remember the old days. But this isn’t an alternate universe story or a What If…?; this is the real deal primary 616, which means that THE world gets a new start courtesy of the Norse Gods—a new Genesis, but with superheroes at the helm. It’s Super Gods as Creators of a new humanity (and some weird-ass mash-up animals). A glorious concept, done gloriously well. Following-up Aaron’s part of the Annual is Noelle Stevenson and Marguerite Sauvage’s charming feminist yarn about Thor (don’t call her LADY Thor!) and the awesomeness just keeps on coming. Stevenson and Sauvage’s “Thor” effectively shows the new Thor win over the hearts and minds of Asgard’s harshest (and most sexist) critics by showing that the new Thor has different (stronger! better?) sensibilities and new methods of interacting with the world that differ greatly from the old roughshod, rough-and-tumble drunkard ways of her thuggish predecessor. She’s not only more feminine, but more HUMAN as well. For all the lip-service mainstream comic companies have been serving up about wanting to cater to a more diverse audience lately, Thor Annual #1 definitely comes through on those promises. And for part three of the Annual, you can’t get much more out-there and fresh than to have pro-wrestling’s biggest star and current expat CM Punk serve up the final bit. With Chew‘s Rob Guillory handling artistic duties, Punk’s “Thor” is total maximum fun, fast-paced, and quirky. It captures the spirit of Thor from head to toe and shows Punk’s intensely passionate knowledge of the character. Not to mention, how great is it that straight-edge CM Punk’s first comic book story is all about drinking contests and getting shit-faced? Can’t wait to read more from Punk.

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