Category Archives: Opinion

Adapting Origins

Today’s guest post is by Dave Huang.

One of Flash franchise’s greatest strengths is the diversity of the Rogues. That strength, however, may prove a challenge when being modernized or adapted to film. Whether or not combining origins is a good thing, it certainly is a trend. Every Superman film has presented a Kryptonian threat (kryptonite, phantom zone criminals, synthetic kryptonite, synthetic kryptonian, kryptonian crystals). In Batman Begins, Scarecrow’s formula, Falcone’s involvement, the main threat, and Bruce’s training all trace back to Ra’s. In The Dark Knight, Batman’s escalation begets Joker who begets Two-Face. In updating Spider-Man, radioactivity is discarded in favor of genetics with organic webshooters (one origin for all powers). The list goes on….

How then does one adapt a speedster with enemies from the far future, prehistoric past, and all manner of scientific disciplines?

If past is prologue, one starts with the hero’s origin. The origin of The Flash is a little thematically weak. It’s an accident without purpose or meaning which grants neither chemical nor electrical powers and is unrelated to speed. Random electrified chemicals aren’t enough to rationalize all of Flash’s physics defying feats even in the comics, hence the Speed Force. However, the Speed Force is a little esoteric and geared at the comic book literate, for an adaptation you need something better grasped by general audience. My suggestion?

FTL. Continue reading →

Wanted: The Flash: Earth One

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Today’s guest post is by Brandan of Speedster Site.

What does it take to make a character memorable? Is that what it takes to make a character iconic?

When DC Comics announced that writers Geoff Johns and Joe Michael Straczynski would be writing 100+ pages each about Batman and Superman respectively, I couldn’t have been happier. I immediately thought that this “The Perfect Chance”. Johns and Straczynski are writing Batman: Earth One and Superman: Earth One. Two original graphic novels that have their own unique spin on DC’s icons. Why was this the perfect chance though? Simply because DC Comics has about 7 specific characters that could thrive under this type of release.

Of course the most important of those I’m speaking of is our favorite hero, The Flash! Let us look at the math of this perfect chance. One of the most recognized characters in comics, plus a symbol that’s known to many outside of comics, subtracting the monthly wait and occasional artist deadline rush, adding a highly capable artist, and to top it all off, its over 100 pages of new content. I was never good at math, but I am pretty sure that equals a sure fire success story.

But why The Flash? I know what you’re thinking. “Surely you must be happy with the relaunch of the series, and excited about the upcoming Flashpoint event. Why waste time on 100 pages of Flash?” Why? Because while that first issue of Geoff Johns and Francis Manapul’s The Flash may be new comic reader friendly, its not going to bring in more readers like The Flash: Earth One could. Still not convinced? Well how about the idea of a Barry Allen story that defines the character you have come to love and respect? Yeah, I thought that might change your mind.

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Rogue Profiles: Keeping the Flash on Schedule

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This is probably a crazy idea, but it’s something I thought about while writing up my thoughts on Flash #6:

DC should plan for the book to get delayed.

I really like Francis Manapul’s art, and Geoff Johns, when he’s at the top of his game, can be a great writer. I’d rather not lose this team on the book right now. But it’s been a while since The Flash managed to release twelve issues a year. To catch up, they’ve planned a couple of Rogue Profiles before the next story arc: done-in-one issues that tie into the ongoing mythology but focus on a different point of view, namely one of the Flash’s villains. These were great during Geoff Johns’ run on the Wally West Flash series, and I’m glad we’re seeing more.

Meanwhile, the pacing of the series seems a little bit more decompressed than it needs to be. As much as I enjoyed it, “The Dastardly Death of the Rogues” felt like it could have been told as effectively in four or five parts instead of six. Flash: Rebirth definitely could have – it seemed like half of the final issue was epilogue. But six issues is the standard length for a collection, so that seems to be the story length that they’re shooting for.

My suggestion: Make the story arcs five issues long instead of six, and schedule a Rogue Profile in between. Put another artist on the profile, one suited to the villain getting the spotlight. If Geoff Johns is busy, let another writer work from his outline, or hand it outright to someone who understands the current take on the Rogues.

That way, the star creative team is only committed to ten issues a year instead of twelve, and we get some great stand-alone stories that DC can either include with the main story collections or save up for a couple of years and put in a collection as “The Flash: Rogues Gallery.”

What do you think?

White Lantern Barry Action Figure Announced at NYCC 2010

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Sorry this is a bit late, but for those who don’t already know DC Direct showed off pics of a slick White Lantern Barry Allen last week at New York Comic-Con 2010:

Photo courtesy of Toynewsi.com

My first impression of it was “Wally West!” and then I quickly remembered that Wally had nothing to do with Brightest Day and that we haven’t even really seen him (except for the one-off appearances in Magog and Secret Origins) since Flash Rebirth ended. My reaction obviously had to do with the belt and the way it’s been designed.

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Captain Boomerang’s Legal Status

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Captain Boomerang is sort of in a legal limbo right now: is he still culpable for crimes he committed before he died?

In one sense he’s like Ygor in Son of Frankenstein: Ygor was hanged for grave robbing and pronounced dead — but the coroner made a mistake. He was still alive, but legally speaking, no one could touch him. Not only had the sentence for his original crime been carried out, but they couldn’t arrest a “dead” man for new crimes.

In The Flash #3, the guards at Iron Heights prison talked about getting Boomerang’s murder convictions reinstated…but something’s missing: Until that happens, what is he being held for? What has he been charged with? (Admittedly, the prison is still run by Warden Wolfe, who has never been particularly concerned with following the law where criminals are concerned.)

Of course, now that he’s shattered a frozen guard (probably killing him), seriously injured several others, broken out of prison, and left a swath of destruction on his way to confront the Flash, it’s a moot point. There are plenty of new crimes to charge him with the next time he ends up in police custody.

But technically, what was he doing there to begin with?

The legal system in the DCU must have procedures, or at least precedent, for dealing with heroes and villains coming back from the dead. No one seems concerned about the Flash’s legal status, and Barry Allen’s official records say he was simply in Witness Protection, not dead, but it’s got to have come up in other cases.

Dead Parents and Super-Hero Origins

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One last WonderCon post!

At the Comic Arts Conference panel on super-hero origins, James Robinson and Steve Englehart agreed that one of the key elements to a good origin is that it includes the hero’s motivation and a hook that readers can relate to. Robinson cited the Silver-Age Flash as missing that compelling motivation: Okay, he put on a costume to fight crime, but why? Why keep going?

Robinson also talked about why so many heroes have dead parents in their past: the fear of losing a parent is something that any reader can relate to. In fact, when someone asked later in the panel how one could create a good origin, Englehart flippantly replied, “Kill their parents?”

Later in the discussion, the moderator asked about retelling origins. Robinson said he was always wary of destroying what was already there, and preferred to try to add new detail around what already works. He cited Geoff Johns’ revised origin for Barry Allen, in which his mother is killed and his father framed for it, as a successful example.

Personally I disagree. It drastically alters the character’s history, and raises questions of why his history hasn’t changed in other ways, but most importantly, it introduces a cliche that wasn’t present in the original version of the story. If you’re going to revise a story, it seems better to remove overused elements than add them.

The same weekend, the New York Times published an article on the role of parents in young-adult fiction: traditionally, the role of a hero’s parents in classic literature was to die, or at least get out of the way, forcing the protagonist into his journey of self-discovery: the orphan’s “triumphant rise.” (via Neil Gaiman)

Yeah, writers have been using this trope for a long time.