There’s no getting around it, Barry Allen wore a bow tie: Over on 4thletter, David Brothers talks a bit about why Flash: Rebirth just isn’t doing it for him, and notes something that bugged me about last week’s third issue—Geoff Johns offers Explanation #2 for why Barry Allen wore a bow tie. The real answer is, of course, that Barry Allen is old, and he starred in old comics from a long time ago, back when people wore bow ties. Now only conservative TV pundits do, so Johns has attempted to explain why Allen, who, on DC’s sliding timeline never was from the time of bow ties being fashionable, always wore a bow tie. Once was probably sufficient; it’s not like Frank Miller devoted any panel time to explaining Bruce Wayne’s pipe-smoking and ascot-wearing in Batman: Year One.
Why this place doesn’t sound the least bit pleasant: Southern Ohio’s Springfield News-Sun chats up local creator Chad Lambert about his graphic novel Return to Point Pleasant, which is about a now legendary local cryptid—The Mothman.
I like his logo: The Honolulu Star-Bulletin on the print-on-demand return of Mr. Jigsaw, a one-time Charlton Comics back-up star.
“More like Whine for Justice” made me laugh: Here are Rachelle Goguen’s reviews for some of the books she read this week. When discussing Green Lantern Corps, she got distracted by the multi-page preview of Justice League: Cry for Justice included in the back, and she wasn’t terribly excited about it. Tucker Stone didn’t much care for it either, bringing it up in his review of last week’s Batman, after wondering if “Ed Benes and Ethan Van Sciver having a line-drawing fight or something”:
Sure, DC was nice enough to jam that hideous looking “A Cry For Justice” preview in the back of the comic to remind you how much worse things can get, but still—who gets off on this kind of art?
I agree with #2: Sandy Bilius shares a few brief thoughts on the comics industry, and I second his second one, regarding weekly comics. From a business perspective, I’m sure it actually helps Marvel and DC to stretch out their six-, seven- and eight-part crossovers to last as long as possible—since, if adding Civil War: in front of any title helps it sell better, the longer the time period they have, the more comic copies of Civil War: Richard Rory they can publish—but if these things would wrap up in the course of a few weeks, that sure would be preferable from a reader’s perspective (and it also allow for more non-crossover storylines in the rest of the line, encouraging writers to write their own stories, rather than focusing on building up to, tie-ing into, and dealing with the aftermath of whatever the big universe-wide story is).
Everything he learned about editing he learned from J. Jonah Jameson: Stephen Colbert guest-edited a recent issue of Newsweek, and in his editorial about why he took the job (entitled “Why I Took This Crummy Job”) he discusses what editing entails. Comic book reference in paragraph seven.