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One of the surprise hits from this past season of new television shows was The CW’s adaption of the DC Comics character Green Arrow. Arrow, starring Stephen Amell as Oliver Queen as been an absolute delight for comic book fans this season and shows that superhero stories do work on network television…if done properly.
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Marc Guggenheim, producer of the CW series Arrow, confirmed to TV Guide that a Ferris Air jet, complete with the logo from the 2011 Green Lantern film, would appear in the season finale.
As most DC fans will tell you, Ferris Air is the employer of Hal Jordan, long time member of the Green Lantern Corps, one time Specter, and occasional member of the Justice League.
Does this mean we’ll likely see Hal make an appearance in Starling City? Guggenheim admits it’s something that has been discussed. Arrow, like Smallville before it, does a fairly good job of name checking and indirectly referencing other heroes from the DCU. It’s one of the main viewer draws to the show, getting to see how the producers adjust the classic elements of the comic book source material to make it more accessible to a modern audience. Smallville did eventually show us a few Legion of Superheroes members, some interesting interpretations of Aquaman, the Flash and Cyborg, and a limited lineup of Justice Society members.
Guggenheim went on to state that the GL movie and Arrow series don’t occupy the same universe. The CW network seems to build a separate world for each of its new DC inspired properties, as evidenced by the casting of Stephen Amnell as Oliver Queen over Smallville’s Justin Hartley. It’s doubtful that we’ll see Ryan Reynolds reprise his Green Lantern role, despite the fact that both Mark Guggenheim and Arrow co-producer Greg Berlanti were credited as writers on the film.
While the long term goal of DC may be a combined universe, a la the Marvel films, it might be best if TV and the films kept their distance from one another. The films appear to be garnering a grudging respect, despite the lackluster reception Green Lantern received, where the CW television programs tend to be thought of as frivolous and full of eye candy.
Still and all, the use of the Ferris Aircraft logo is a step in the right direction, opening up the possibility of a larger Arrow universe.
About two months ago at PaleyFest, Arrow executive producer Andrew Kreisberg was asked which characters from DC Comics’ roster of heroes he’d like to see on the show. Almost immediately, Kreisberg answered:
“Dick Grayson and Nightwing were always my favorite. I doubt we’ll ever get to that point. The bat-universe will never coincide with ours, but Nightwing would be my fantasy.” (Source: Comic Book Resources)
The mention of Dick Grayson/Nightwing is interesting considering how heavily Arrow borrows from Christopher Nolan’s Dark Knight Trilogy in terms of its tone and aesthetic. The show is essentially the closest the CW will ever get to Batman without having Batman. That being said, it seems that most of the major players in the Bat-universe are off the table for Arrow because of licensing issues and restrictions on characters with possible ties to a movie deal. That doesn’t mean Arrow hasn’t done its damnedest to use characters and drop names within the DC Universe. Last week’s episode, “The Undertaking,” took us to Blüdhaven while Ted Kord, Ray Palmer, and Jean Loring were all mentioned within the flashback sequences. Actually makes you wonder why Ray hasn’t dropped by at this point since he and Ollie seemed to be friends five years ago.
Though Nightwing will sadly not be appearing in Season 2 of Arrow, even though Dick would completely make sense as an ally of Ollie’s within the universe of the show, there are still a fair amount of potential heroes and villains that could – and some that should – appear on the show. Here are some of those possibilities.
Ted Grant (a.k.a. Wildcat)
Of all the DC heroes who have the most potential to appear on Arrow, Ted Grant is, by far, the most likely! Pre-reboot in the comics, Ted was a former boxer turned vigilante who eventually became one of the most sought after trainers for new and experienced heroes within the DCU. The creators of Arrow wouldn’t even have to tweak him all that much since his back story actually ties into Ollie’s world perfectly through Laurel. In the comics, depending on the continuity, Ted trained Dinah before she took over the mantle of Black Canary from her mother who was a former colleague of Ted’s in the Justice Society of America (JSA). Arrow has been heavily hinting at Laurel’s heroic destiny, so it would completely make sense for Laurel to begin going to a gym owned by Ted Grant and start training under him. It would also give Laurel a father-figure to look to since I’m pretty sure Quentin Lance is not long for this world.
Ted could eventually be a guiding father-figure for Ollie as well. His relationship/partnership with Diggle is more brotherly with the two operating as equals in the field more than anything else. Ted could provide another avenue of storytelling with the seasoned veteran guiding the next generation, which could also be a way for Ted to make amends for past sins (Tom Bronson, anyone?). It would also be an interesting juxtaposition with Ted providing advice for Ollie when he eventually takes on Roy as a sidekick. Don’t act like you don’t know what’s happening!
Victor Sage or Renee Montoya (a.k.a. The Question)
Even Arrow co-creator Marc Guggenheim thinks Vic Sage would fit in perfectly on Arrow and I’m inclined to agree. Never mind the cosmic mumbo-jumbo going on in the New 52, The Question is a faceless P.I. searching for answers. Vic Sage’s original origin story was a brilliant actor turned vigilante using an experimental artificial skin called Psuedoderm to cover up his face while he hunted criminals. Dennis O’Neil later revamped his backstory a bit in the 80s, making Vic an investigative journalist for a television station who used the faceless mask to go places and find clues where his well-known visage could not. Like Ollie, he was also a ruthless vigilante and often opted to not save criminals should they find themselves in dire straits. Vic also has a clear intro point to the series through Helena Bertinelli (a.k.a. The Huntress) since the two were quasi-romantically involved in the comics (and Justice League: Unlimited) when Vic spent some time in Gotham City, so you could easily bring both of them in for a two-parter since we’ve already established Helena’s presence in Ollie’s life. Can you say “drama”?
Another possibility is Renee Montoya who Vic trained to replace him when he found out he had lung cancer. Though she is part of Batman’s universe of law enforcement allies, Renee really came into her own as The Question, so you could always have her arrive in Starling City as a disgraced or disillusioned cop looking for a fresh start as she follows the remnants of The Undertaking’s conspiracy. It also diversifies the cast on several levels.
Stephanie Brown (a.k.a. Spoiler)
Oh, Stephanie Brown, you’ll never go away, will you? NOPE! I’ve already spoken about how I think Steph should be the new Robin in the comics, so I’ll keep this one brief. When you think about it, Spoiler is like the female version of Nightwing. She’s light-hearted, but serious when she needs to be, skilled, but tends to overreach, and she has mob connections! Win-win, really. You could argue that Huntress and Felicity Smoak make up most of what distinguishes Stephanie as a character, but I’d argue that it’s Steph’s personality that sets her apart. Though Felicity has the awkward-ish nerd thing, Stephanie can bring tons of bravado and fun to being a vigilante in contrast to Ollie’s super seriousness. Watching them work together with Stephanie all pumped to do some crime-fighting could do wonders for bringing out Ollie’s lighter side.
King Faraday
Why the hell not? DC’s answer to Nick Fury (minus the eye patch), King is one of those agents that fits into whatever organization you need him to. Arrow has already introduced A.R.G.U.S., so why not throw King into the mix of Diggle’s former colleagues? Once The Undertaking has been taken care of, I imagine there might be some recruiting going on from various agencies looking to use “The Vigilante” or “The Hood” as a pawn in their own games across the DCU. In the comics, Ollie has been pulled into many an organization to carry out a mission or two, so it wouldn’t be out of the question for Checkmate or the C.B.I. to come a callin’ with King Faraday as their primary recruiter.
Sandra Wu-San (a.k.a. Lady Shiva)
I hesitate to suggest yet another female assassin since Arrow already has China White and Shado will more than likely make an appearance in the present at some point. Plus, there’s always the possibility that Cheshire will show up since we now have Roy Harper in the mix. But screw it, Lady Shiva is awesome! The most respected and feared master of martial arts, Shiva is an assassin-for-hire who can be both friend and foe to Green Arrow. Like Ted Grant, Shiva was mentor to many heroes pre-reboot, training Black Canary, Robin, The Question, and even Batman after Bane broke his back. If Arrow continues with the Triad subplot, I could imagine Shiva showing up as another hired assassin to replace China White (in the most brutal way possible) or as an operator higher than the Triad who inspires fear even at the mention of her very name. To change things up, maybe she figures out that “The Hood” has to have some money in order to have all of those custom arrows, so she lets him make a counter-offer so she won’t kill him so long as she’s compensated. They form a tentative alliance/friendship and she shows up whenever some international flair is needed for the plot.
Hugo Strange
Yet another character that seems like a no-brainer, Hugo Strange, while a Batman villain, is still the foremost expert in criminal psychology since he is, in fact, a criminal who specializes in psychological warfare. Being a vigilante and living a double life has to take its toll on Ollie at some point and wouldn’t it just be fitting for world-renowned psychiatrist Dr. Strange to be visiting Starling City? His visit also happens to coincide with a string of crimes from people who otherwise would never commit such acts, so Ollie sees Strange under the guise of the billionaire playboy with problems, but then has the tables turned on him by Strange. Episode practically writes itself!
Obviously these are only a few possibilities, but I think you could make a case for all of them making at least a guest appearance at some point down the line. That’s what I like the most about Arrow. The show provides an avenue for lesser known villains and heroes to at least step out of the long shadows cast by Batman, Superman, and Wonder Woman and give viewers other characters to get to know that may just grab a new reader or two for the comics.
Did I miss someone? Probably. Let me know if there are any heroes or villains you think could show up on Arrow. Go a little deeper and tell me how!
So, who’s picking up Injustice: Gods Among Us today? Or maybe you picked it up at midnight? Either way, you don’t want to wait to grab this gem. To say that Injustice has been an anticipated video game is an understatement. Even uber-geeks Kevin Smith and Jason Mewes are excited. With the advent of the Dark Knight trilogy, the Spider-Man reboot, Phase One of the Marvel Universe movies, and an upcoming Superman movie, even the people who picked on superhero fans in high school are in love with superheroes now. We are in the Golden Age of superheroes, and there really couldn’t be a better time to release what is essentially a superhero Mortal Kombat.
If you’re a geek, or if you run in geek circles, you’ve surely over heard (or over-had, as is the case with some of us) what we call “the great debate”: Superman VS Batman (etc). In our house, we’re excited for the chance to prove who’s butt belongs to whom (referring to in-game characters, as well as to our gaming selves). We’re also excited to super-suit up in what we believe will be one heck of a storyline…but what we’re really excited for is the mini Firefly reunion taking place! If you haven’t looked yet, run over to IMDB and take a look at the voice acting credits. You’ll notice that they got Steven Amell to continue in his role of Green Arrow (Or should we just say “Arrow”?), for which fans of the current series couldn’t be happier; however, if you scroll way down to the bottom you’ll see everyone’s favorite pilot, Alan Tudyk with the credit of ‘voice’. So, whose voice is he? After some research (or maybe you’ve heard), you find yourself asking, “Two Green Arrows?” Yes, there are two Green Arrow voice actors in Injustice: Gods Among Us. From what we can tell, Steven Amell voices him when you have him suited up in TV’s Arrow costume while Alan Tudyk reprises Young Justice’s bearded Robin Hood.
Why IMDB relegated Alan Tudyk to ‘voice’ rather than mentioning that he’s voicing one of DC’s most popular characters is beyond us, but it doesn’t stop there. It’s not until you click the “Show Entire Cast” button that you see another heavy hitter mentioned. The man we call Jayne is soon to be the man we call Hal Jordan. …again (You guys know he voiced Green Lantern in Justice League Unlimited, right?).
The cast of Firefly has partaken of the DC video game cup before (Adam Baldwin and Gina Torres as Superman and Wonder Woman in DC Universe Online), but that doesn’t mean we’re any less excited to see (or hear) some of our favorite space cowboys (space pirates?) together again.
My apologies if there’s some repetition in this article that’s been covered by my esteemed colleague, Daniel K., in his article, but the history major in me just won’t let sleeping dogs lie. A professor I worked with in college once told a group of freshmen that everything is political. In many ways, I’m inclined to agree. And it’s not just party association or the books you put on your shelves to display when company comes over. Everything from the clothes you wear, to the food you buy, and even the television shows you watch can be considered a political act. And it’s not a fluke that politics goes hand-in-hand with consumerism. Why? Because consumerism is one of the most overt political actions a person can perform. For those in the states, think Boston Tea Party. That’s at least one of the most well-known acts of consumer politics, but it definitely wouldn’t be the last. Sometimes we fight with guns, other times we fight with our wallets.
The point is that comic books are a product to be purchased, one that has been part and parcel of the political atmosphere since its very inception. You cannot separate comic books from politics because comic books ARE politics. Comic books are not created in a vacuum, they are a product of their time and the people who create them. It’s when we try to rationalize that the two are separate that we run into trouble. No matter which character, no matter what era, you can trace comics back to one particular group that’s always at the center of the political sphere: the children. Cue Helen Lovejoy…now!
The “stigma” that comic books are for kids remains to this day because comic books did start as compilations of cartoon comic strips as well as illustrated pulp stories marketed towards children. For a nickel, a kid could buy stories about detectives, horror, action, romance, westerns, etc. It was pure escapism and considering the political, social, and economic climate of the 1930s, escapism was welcome by all. Enter Superman (Action Comics #1, 1939), champion of the common man, the immigrant, and the embodiment of American values all wrapped up in 
a strongman’s uniform and a cape. As Daniel pointed out, Superman’s early adventures were not cosmic, but societal. Superman battled gang bosses, slum lords, pretty much anyone who tried to take advantage of common, decent folk. He was a shining beacon of hope in the ugly world inhabited by the readers.
The popularity of Superman and fellow heroes like Batman (Detective Comics #27, 1940) and Wonder Woman (All Star Comics #8, 1941) among children made them the primary method of crafting political messages, rallying the heroes behind the war effort and thus encouraging little Johnny or Jane Q. Reader to buy war bonds, plant liberty gardens, and collect metal for the soldiers fighting for their freedom overseas. At the same time, comics were being sent in care packages to soldiers during WWII, giving them a slice of home where Superman was pummeling Nazis and dropping Hitler off at the United Nations while they were fighting the same fight on the battlefield. Never before or since were politics and comics so easily united.
Then Seduction of the Innocent happened. If you really want a good example of how children, politics, and comics are intertwined, then here’s your evidence. Written by “Dr.” Fredric Wertham and published in 1954, Seduction of the Innocent was a product of the post-war period when the subject of juvenile delinquency was seen as a serious problem that needed a solution. Rather than look at urban sprawl, economic disparity, or rapid social change, Wertham decided to blame comic books for corrupting the youths with their tales of horror, violence, crime, 
drugs, homosexuality, and thoroughly un-American values. We now know that Mr. Wertham was a liar, liar with his pants very much on fire, but, at the time, his supposition and “authority” through “research” presented an easy solution to a far more complicated problem. As a result, Congress instituted the Comics Code Authority designed to censor and regulate what was and was not appropriate for children and teenagers to read. Basically no sex, drugs, or ultra-violence could be depicted and Lord help you if you said anything against the government!
Our champion for freedom of expression in the face of the Comics Code Authority? Marvel Comics and the idea-man himself, Stan Lee. Marvel, in many ways, benefited from being the younger company compared to DC even if many of its creators and editors had been in the industry since the 30s. Marvel didn’t have characters like Superman and Batman who, under the Comics Code Authority, were stripped of their previous social commentary in favor of moralizing rhetoric. Marvel under Lee, editor Martin Goodman, and artists like Jack Kirby and Steve Ditko, bucked the system by creating more complex and relatable characters like Spider-Man, the Hulk, and the X-Men who functioned more like the readers. They were also the fortunate benefactors of timing, bringing these characters into the tumultuous world of the 1960s when pretty much every social convention was being questioned and protested, primarily by teens and young adults. The Hulk could still fight the government because the government thought the Hulk was a villain. The X-Men were a direct parallel to the Civil Rights Movement’s differing philosophies in the face of a world hellbent on destroying them for being different.
It wasn’t until 1971, however, when Stan Lee was commissioned to write a story for the US Department of Health, Education and Welfare about the dangers of drug use that the Comics Code finally proved its uselessness. Over a three-issue arc of Amazing Spider-Man (#96-#98), Lee had Spider-Man saving teens from various, un-specified drugs while Harry Osbourne fought his own addiction. Unfortunately, the Comics Code rejected the story and refused to put the stamp of approval on the comic. Irony and the government don’t exactly get along too good, do they? Lee and Goodman, however, decided to make the momentous decision to publish the comic regardless of the stamp, which led to the eventual lifting of the Comics Code when other publishers began submitting stories concerning mature subject matter that was designed to reach the readers rather than talk down to them.
A year prior to Lee’s exploits, Denny O’Neil and Neal Adams over at DC Comics began their infamous run on Green Lantern/Green Arrow, an openly liberal book that resulted in one of the single most re-printed panels in comic book history. By making Hal Jordan the voice of the establishment and Oliver Queen the voice of the marginalized, O’Neil and Adams managed to address a number of social issues that were relevant to the time 
period: corruption, pollution, over-population, cultism, religion, and racism. In referring to the comic and the speech given by a hardened, elderly black man to Green Lantern, O’Neil said:
“My theory was that it was probably too late for my generation, but maybe you get a real smart twelve-year-old and get him thinking about racism…” (Source: Comic Book Heroes: Unmasked, The History Channel, 2003)
O’Neil, while also revitalizing Batman, was inadvertently responsible for the acquisition of Wonder Woman as the ultimate feminist icon. In trying to revamp the character for a modern audience in the 1960s, O’Neil made Wonder Woman into a mod ninja, taking all of her powers away and making her a student under a martial arts master. For women like Gloria Steinem, who’d read Wonder Woman growing up, the idea of stripping the most powerful female superhero of her powers was unconscionable and an insult to female readers and impressionable young girls looking for positive role models in the media. O’Neil admitted his failure to do right by the character later on, but it’s still important to note that he understood the power of comics in the same way that Lee did, in the same way that we all do who are avid readers and fans.
Comics are powerful tools for disseminating ideas, especially among younger readers. It’s the same reason that government officials and the news media attack comics when decisions are made concerning characters that appear to go against the “moral fiber” of American values. When we jump ahead to the current political climate, the same battles are occurring. In the wake of September 11th, comics have taken great leaps forward and several 
jumps backward. Gay rights, religious persecution, and the depiction of women in comics are the current hot-button issues that continue to split readership and incite media scrutiny over whether or not comics are “corrupting” the youth. Superman renounces his American citizenship? Scandal! Nightrunner, the “Batman” of Paris, is a Muslim? Islamic agenda! Northstar, the first openly gay character in Marvel Comics, is getting married to his boyfriend? Kate Kane and Renee Montoya are lesbians? Alan Scott, the original Green Lantern, is now gay? Liberal mind-washing!
Are comics inherently liberal? Depends on who you ask and who’s writing the project. While mass appeal is always the goal, separating the writer, the artist, or the editor from the books they work on isn’t always easy. We may praise Batman: Year One and The Dark Knight Returns as the books that made Batman a dark and imposing figure in the 80′s, but Frank Miller has endeared himself to no one by sticking to his Reagan-era, intolerant, sexist, and racist views in works like All-Star Batman and Robin, the Boy Wonder and Holy Terror! Alan Moore has similarly ping-ponged amongst fans mostly due to his diatribes against adaptations of his work and DC Comics’ cringe-worthy Before Watchmen books, many of which seem to miss the point of Watchmen entirely (but that’s just my bias).
Most recently, the controversy over Orson Scott Card’s involvement in DC’s digital-first Adventures of Superman comics that will use a number of writers and artists to create stand-alone, out-of-continuity stories concerning the Man of Steel. Card, the author of the Enders Saga, is a well-known and outspoken homophobe, which has led to petitions to DC to fire Card from the project as well as prompt many comic book shops to boycott Card’s issues of the comic when they go to print. It’s a particularly perplexing situation given DC’s stance as being gay-friendly, yet hiring a man they had to know would create controversy. Then again, DC is no stranger to courting controversy for the sake of sales, so it should surprise no one that they’re standing behind Card’s involvement while issuing a statement that his personal views in no way reflect that of DC. Nice cop-out. The way I see it, the best thing you can do is protest like so many have before, with your wallet. It’s the best political tool you have in your arsenal and when DC looks at the numbers, they’ll see exactly what their decision to hire Card hath wrought.
We’ve also entered an era where comics are capable of being immediate and timely…sort of. In May, DC will be releasing two books, The Green Team by Art Baltazar, Franco, and Ig Guara and The Movement by Gail Simone and Freddie Williams II, that have inklings of the Occupy movement, wikileaks, and Anonymous but are more concerned with the idea of power as a commodity. One viral video posted at the right time can destroy a person’s life or bring to light the shady dealings of corporations, but can the right amount of money stop the dominoes mid-fall? Plus, there are superheroes, so win-win, I say. If anything, these books are the successors to O’Neil and Lee in that they’re concerned with getting the germ of an idea into the minds of readers, asking them to rethink the nature of power and who is truly powerless in this politically charged environment. Will the readers necessarily be children? Maybe, maybe not, but if you get a really smart twelve-year old and you get him or her thinking about equality…
Like my professor said, “Everything is political.” We take a stance just as assuredly as comic books do within their pages. And even if comic books are no longer for kids, though some of them are, there’s an obligation to present them, and us veterans, with a worldview more in line with a mosaic – pieces of ideas, the parts of a greater whole that, when you step back, presents a thing of beauty. That’s where my money goes. I want to be challenged, I want to think, and I want my superheroes to do the same.
I try not to mix my politics with my comics (my writings FOR comics, on the other hand, is another story!). However, the news of Orson Scott Card being hired to write a Superman title peaked my interest. I knew him for being the writer of Ender’s Game…and now I know him as an horrendous bigot (farewell, Ender’s Game, I might never read you again!). For a man who had his most famous book end on a note of how xenophobia is detrimental to mankind, his homophobic remarks and position on The National Organization for Marriage shows he is a horrible choice to be a writer for Superman. Why? Because Superman is antithetical to any sort of bigotry.
Now, politics and superheroes have been going hand in hand, with various degrees of success, since Action Comics #1. Superman was originally shown as a crusader for social reform and protecting the little guy from being taken advantage of. This is a man who would take on slumlords, loan sharks, and corrupt politicians, to name a few of his targets. This being the age of The Great Depression, Superman’s daring adventures were eagerly read by children and some adults, striking a chord for those who felt powerless and marginalized. The popular Superman radio show had a famous arc where Superman and Jimmy Olsen took on the KKK, preaching a message of tolerance. A Superman movie serial, Superman and the Mole Men (coincidentally starring George Reeves as Superman, who would soon star in the television series) did the same, preaching tolerance over fear in the series’ denouement. During World War II, covers boosted morale and advertised War Bonds.
In the Silver Age, due to The Seduction of the Innocent and the public fallout, The Comic Code Authority was founded. Among the rules was a ban on controversial content. This often meant political opinions. Enter the House of Marvel and their famous series of issues dealing with drug addiction. They knew they had to write a story about it. The Comic Code Authority did everything in their power to stop the issues from selling, to the point that they refused to give it their stamp of approval. That there would have been the kiss of death for any comic book at the time, but Marvel decided to publish it anyways. The books dealing with Harry Osbourne’s addiction to drugs became best sellers. DC soon followed up with the famous “Snowbirds Don’t Fly” issues where Roy Harper/Speedy, sidekick to Green Arrow, was revealed to be an addict. Even before that, Green Lantern/Green Arrow comics had been dealing with political issues. With Hal Jordan as the staunch conservative and Oliver Queen the “radical” liberal, they dealt with America’s problems, including an infamous issue where an African-American confronted Green Lantern over his apparent lack of interest in the problems facing African-Americans. That isn’t to say there weren’t problems at the same time. One of the members of The Legion Of Superheroes, Tyroc, was written as a black supremacist/racial separatist living on an isolated island. This was a result of his creator, title editor Murray Boltinoff, being a known racist. The character later disappeared and would only be revived (and revamped for the better) for The New 52.
In the Modern Era, superhero comics dealt with social issues, expanded gay characters, minority characters, and wasn’t afraid to criticize the dark side to society. Even as I speak, DC has announced the revival of two titles due to the emergence of Occupy Wall Street and the pros and cons to both sides of the arguments. But even then, there has been backlash. This has particularly come from conservatives. With the revamping of Alan Scott as gay and a new Muslim Green Lantern, DC was picketed and boycotted by conservative groups. When Northstar married, there was backlash against Marvel. When Superman declared himself a citizen of the world, and not the US; again conservatives attacked. That isn’t to say Liberals haven’t been above protest. The declared boycott on Orson Scott Card’s upcoming run on a Superman title (albeit one not part of The New 52) is an example. When Frank Miller made several remarks about Occupy Wall Street that were derogatory, even his fellow creators, on both sides of the political spectrum, called him out. Frank Miller also made a graphic novel, Holy Terror, that was so racist and xenophobic that DC barely advertised it.
Now the question is: when are politics in comics okay? Some could argue that it should be removed altogether. That was the case in the Silver Age, where the back pages of comics would have a tame PSA. I’m of the camp that since comics take aspects from real life, they should reflect it somewhat, including politics. But what kind? We can’t let only one side speak; but since comics have been an advocate for social change from the beginning, I think issues calling for change for the better would be best. No exclusion, no hate…leave those for the villains.
And as such, perhaps Orson Scott Card is not the best choice writing for a character who stands for Truth, Justice and The American Way for ALL Americans, regardless of gender, race, religion, ethnic origin or sexuality.
Nerd alert! I love a good villain. I’ve written my take on villains by making an example of the bad guy from my first book, GIFTED. I like thinking about where they went bad, what circumstances led them to their current paths, and how much fight they can give in a scene. Lately I’ve been inspired by certain characters – especially three particular villains – from the TV show ARROW. (Warning: There could be potential spoilers here. If you plan to watch this show and don’t want to know anything, go read this nerdy entertainment post about The Dark Knight on Morality vs. Chaos.)
Now, I don’t know anything about characters or stories in the Green Arrow comics, but I think I prefer it this way. I suppose one of my favorite parts about the show is that it’s as close to reality as a comic book adaptation can be – consider it the TV version of Nolan’s Batman trilogy. Starling City has been overtaken by thugs and criminals in Oliver Queen’s absence, but they don’t have mind-melting powers. There’s a superhero factor, sure, but nothing so outrageous as to suggest magical powers, alien or otherwise. Oliver Queen’s superpowers, besides the bow and arrow and fight skills, are extreme abs and ninja-fast speed – but it’s believable. I appreciate the realism it brings, which is why I like the villains so much – they have to be over the top and vicious, but still a realistic foe. They’re the exact shade of bad guy I love to write (magic powers or not).
You know the ones – they’re a bit eccentric but violent, constantly on the edge of a murderous rage. People are nervous around him because it could go either way. He’s calm when he needs to be, just enough to make someone feel hope of escape, only for the villain to stab them lovingly in the right spot, killing them for somehow insulting his intelligence.
ARROW had this type of man on in this week’s episode “Betrayal” – he went by the name of Cyrus Vanch (played by David Anders), and I wish they’d given him more screen time. I loved his deranged opener, which included killing his lawyer with one elegant knife move before going to make himself lunch. He’s aggressive with what he wants, unapologetic for his crimes and prepared to do more. He has lots of goons with guns working for him, but he wants the bigwigs to pay attention. The hooded vigilante is in the way of his rise to power. His solution? Vanch kidnaps Laurel to get to Oliver, who comes to save the day. While we watch the Hood kill his men, Vance tells Laurel why the Hood will fail – he even takes count of how many arrows the Hood has (24) and accounts for that, has a man ready inside to capture Oliver. He was smart enough to think ahead, but didn’t expect a partner as the Hood typically works alone. A surprise appearance keeps them all alive and while I wish the capture had gone down more dramatically, I’m hoping it leaves a way to bring Vanch back for revenge against Laurel and the Hood. You just know he’ll come at them with everything he’s got.
In “Vertigo” Oliver goes after the Count (played by Seth Gabel), a drug dealer of the worst kind, selling a drug he’s tested on homeless people, that kills the users (56 died to make it perfect), and will spread through Starling City. Seth Gabel said in an interview he used Heath Ledger’s Joker for inspiration and I think that’s easy to see – and admire, because he’s not copying it, but they both carry that flair of crazy. Gabel plays it with that same bit of confidence, the willingness to embrace chaos and make the most of it. They both like to do the dirty work themselves, thrive on watching their enemies fail. The Count doesn’t fear the police or anyone else who might threaten him – he can think on his feet. His special talents include being quick enough to jab you with the vertigo drug. The Count’s entrance is memorable – when one of his goons gets cornered by “The Hood” and lives, he’s taken to the drug kingpin. He pleads with the Count that he didn’t tell him anything. “Of course you didn’t,” the Count replies. “You don’t know anything to tell.” Just when the thug believes he’ll get out alive, the Count stabs him with his special concoction of vertigo, which makes his brain go wonky and makes him believe he’s in awful pain. The Count hands him a gun and gives him a choice: the thug can shoot and kill the Count…or he can shoot himself, thus ending the misery. The Count steps back, prepared to take a bullet, but obviously knows from experience that the victim will off himself. The smile that crosses his face as the flash, bang! goes off? Pure, delicious villainy.
And then there’s this guy: the Dark Archer, from “Year’s End.” (This is a serious spoiler, so go elsewhere if you don’t want to know.) The Dark Archer is just as good at archery and hand-to-hand combat as Oliver Queen, if not better. Their fight scene was easily the best one of the season, if only because we finally see Oliver fail at getting his bad guy – not only does he not get him, but he gets seriously hurt and has to run in order to survive. Not even Oliver Queen’s magic washboard abs can defeat the Dark Archer. I didn’t expect to find out who the Dark Archer was, but when the hood came off and the man revealed – well, I’m still thinking about this twist. Turns out it’s someone close to Oliver- his best friend Tommy’s dad, Malcolm Merlyn (played by John Barrowman). We already knew Malcolm wasn’t a nice guy (like, really not), but to be that good with a bow and arrow? I never saw the rich, suit-wearing, corporate guy under the hood. Especially the one that can take on Green Arrow and win (he even suggests the Hood change his name to Green Arrow – a nice nod to the comic). And he knows about Oliver’s book of names, the evidence his father gave him to go after the criminals destroying Starling City? The Dark Archer knows how to shake Oliver Queen to his very core, the belief system he’s had for the last 5 years to survive. Turns out, as we find a couple episodes later, Malcolm – back in his expensive suit – is still angry about Tommy’s mom being murdered in the street. We don’t know why or how he turned so dark (not yet – I can’t wait for Barrowman’s scenes there!), but Tommy does mention that his dad disappeared for a while when he was only 8 years old. It’s inferred that Malcolm Merlyn made his way to the island full of bad guys who train assassins. If you look deeper into the story as a writer, perhaps he even has some sort of higher agenda by becoming the Dark Archer (going after his wife’s killer(s), maybe?). He might just be plain bad because he’s anti-Arrow, but what a deeper story for the character, right? We don’t know ulterior motives or future plans, and that’s what makes him so dangerous.
ARROW has plenty of other solid villains and storylines, but those are the three that stick out in my mind. I could easily do another piece on any of the other characters – I think the show’s that good and I hope it sticks around for as long as Stephen Amell continues to do upside-down crunches. What do you think makes a villain interesting? What traits do you love to read/write…and why should your hero fear him?
ARROW comes on Wednesdays at 8/7c on the CW Network.
If it seems I’m a big fan of Raphael Moran’s work, it’s because I am! He and the folks he works with always deliver something creative and fresh when it comes to comics stories. Previously, he created Dream Reavers, a great series you should already have read. (Shame on you if you haven’t done that.)
Now he’s got a new graphic novel out called Flee, and you should be reading it as well!
Here’s the description: “Bug Exterminator Rigby Pinkerton is one of the biggest losers in the world. His ex-wife left him penniless, and now he’s stuck at home living with his plastic surgery-obsessed Mom. His life suddenly gets more complicated when he unwillingly gets caught in a intergalactic war that literally crash lands into his backyard. He’s the only one that can stop a deadly alien swarm and help a lone alien hero save the universe. Too bad Rigby has better things to do… like fawning over the hot new single mother that moved in next door. It’s a sci-fi alien invasion comedy unlike anything you’ll see. It features artwork from Ed Waston, Marc Borstel and Atul Bakshi. E T Dollman is doing the lettering. It’s all from the mind of artist/writer Raphael Moran.”
Flee contains two storylines that just couldn’t be more different. The space tale is very powerful sci-fi, full of interesting alien races and artifacts upon which the fate of many relies. On the other hand, Rigby’s experience is much more focused on interpersonal conflicts and everyday life on Earth.
The person I was most entertained by was Rigby’s mom, who is unlike any mother I’ve ever seen in comics. She’s sassy, funny and quirky, the perfect foil for her more standard son. Rigby’s best line is, “Prepare to be exterminated,” something a person in his line of work might say! Then, too, new neighbor Rita is everything Rigby would want in a woman… even though he’s not certain he’ll ever be able to win her over.
Even his dog Mensa (his name made me smile!) has some great bits in the story as he gets involved in the invasion. Both fun and funny stuff!
If you are ready for an enjoyable read that is both way out in outer space and down to earth, pick up Flee. You won’t be disappointed, believe me!
If you can’t get it through your local comics shop, you can go to Amazon and buy it!
Don’t forget to follow Flee at http://www.facebook.com/fleecomics and on Twitter @raphaelmoran. (And by the way, the title of this graphic novel could also have been spelled Flea, in my opinion! But it works both ways!)
To listen to my interviews with Raph during my Wayne’s Comics podcast, you can listen to the first one here and the second one at this location!
This Week’s “New 52” Reviews: Green Arrow #17 is a terrific jumping-on point for fans of the Emerald Archer! Wow! Detective Comics #17 has Batman tracking down the League of Smiles, a criminal group of psychotic killers that worships the Joker. Earth 2 premieres Dr. Fate for the first time in the “New 52!” Swamp Thing and Animal Man each continue the “Rotworld” story. (Be sure to read Animal Man first, though.) World’s Finest #9 is another great outing from Paul Levitz, this time with both Phil Jimenez and George Perez, among others. Batwing #17 has the hero trying to impose justice in a land that may not want it. Stormwatch sees their headquarters get destroyed. The Phantom Stranger meets the Spectre. Also, the new Dial H continues its odd ways. Just in time for the holiday comes Young Romance: A New 52 Valentine’s Day Special #1, featuring stories with Superman/Wonder Woman, Batman/Catwoman, Nightwing, Apollo/Midnighter, Aquaman/Mera and Batgirl. Oh, and you get DC Valentines you can give away if you want! Good reading all!
Also out this week are:
DC
BOOM!
Dynamite!
Image
Marvel
Valiant
Publisher: DC Comics
Writer Jeff Lemire
Artist: Andrea Sorrentino
Release Date: Feb. 6, 2013
Well, after a busy end to the fall semester and a busier-than-average break, I’m back to give you my 2 cents on an issue, good or bad. This week, I take aim (pun INCREDIBLY intended) at DC’s Emerald Archer, Green Arrow. With his new creative team of Jeff Lemire and Andrea Sorrentio fresh off of Animal Man and I, Vampire respectively, this is the third creative team for Oliver Queen since the reboot. With Arrow being a critical and commercial hit on TV, interest in Ollie has been on the rise, and of course fans of the show might head towards the source material.
Green Arrow #17 begins on a somber note. Ollie is alone in what seems to be the Australian Outback without his trademark bow and arrows, and his uniform has been reduced to his hood. He seems to be at an all time low and thinks of himself as a failure whose entire life is a lie. His becoming Green Arrow, a game. And being alone, all he wants to do is DIE alone.
Why? In flashbacks, we find out that three weeks beforehand, someone bought out Queen Industries and Q-Core, and Ollie wants an explanation from Emerson, a man who has been bashing Ollie this entire time at every possible opportunity. It turns out that Emerson’s actually been trying to look out for Ollie and because of that Queen Industries has fallen into malicious hands. Emerson begins to reveal that he was trying to prepare Ollie for a special destiny, a true birthright. But of course, in true film noir fashion, an arrow permanently silences Emerson, and a second pulls him out the window, framing Ollie for murder.
This is where Ollie’s life starts its downward spiral. When he tries to get help from his associates, he finds that they are compromised. An explosion at Q-Core forces him to go to a safe house and get his gear. Of course, he’s attacked there by our mystery archer, a man calling himself Komodo; and he knows Ollie’s secret. He also has Ollie’s trick arrows, which he uses on Green Arrow to great advantage. Komodo also talks about Ollie’s supposed destiny. The final showdown, which includes another new face, gives us more questions than answers. Like any good story, it leaves you wanting more.
Lemire gives us a noir style story wrapped up in superhero clothing. We get mysteries, people framed for crimes they didn’t commit, explosions, assassins, and more questions that will only be partly solved next time. In contrast to the book’s previous writer, Ann Nocenti, who wrote Ollie like a 20-something James Bond, Lemire wants to take Ollie down the path to a mature hero.
The artwork by Sorrentio looks a bit like live action rotoscopted into a comic book, which is interesting. Keeping with only a few colors, it seems to set up the story’s darkness. It’s stunning while being simple. Sorrentio also uses the perspective of both Green Arrow and Komodo to add to the drama and the tension. Small squares within panels show us the little things Ollie is notices and shows his thought process as he takes advantage of what he has and figures out what to do (it’s easier to see than explain). It shows that Ollie has a tactical mind, reinforced when he refers to two security guards coming to arrest him as targets rather than people. However, it feels like they looked at the House That Stan Built (aka Marvel) and cribbed some ideas from the cover to Hawkeye.
Of course the big mystery of the day is “Who is Komodo?” He’s set up to be the big villain, or the major enforcer for whoever is pulling the strings.
Who is our likely baddie? My money is on Tommy Merlyn. Seen on the picture on the right next to Ollie (taken from Green Arrow #0), Tommy was hired as Ollie’s archery teacher and was his friend. Of course, when all hell broke loose, Tommy was badly injured and blamed his injuries and the deaths of those around him on Ollie. At the end of the issue, Talia Al Ghul finds Tommy, and the issue hints that his own training will begin soon. Given the popularity of the character on Arrow, it wouldn’t be too much of a stretch to think this is our introduction to the New 52 Merlyn. Only time, and Lemire, will tell. Until then, we, like the readers of a pulp novel, are sitting on the edge of our seat.
Green Arrow (GA) is enjoying something of a renaissance these days!
While his new comic has changed hands pretty consistently, the new CW series Arrow has been doing well on television, garnering good-sized audiences and a strong fan base. I particularly enjoyed the recent discussion on the show that instead of being called “the Hood,” the vigilante should get a better name. “How about Green Arrow?” said John Barrowman’s character. “Lame!” responded Stephen Amell, who plays the titular character. Nice inside joke. If you aren’t a comics fan, you probably don’t care about lines like that, but if you are, it’s a fun bonus!
Based on the success of Smallville: Season 11, DC immediately started up an Arrow digital series, which comes out in print a certain amount of time after the chapters have been released online. (A great way to double dip, in my opinion.) Longtime Green Arrow comics writer/artist Mike Grell has been involved, a treat for fans.
Recently word came that rising star Jeff Lemire would take over writing on the Green Arrow comic that’s part of the New 52. I’ve been buying the book regularly anyway, but I’ll buy with more interest with him involved. (Hey, I’d do that no matter what comic he was working on!)
As a “seasoned” comics reader, I remember Green Arrow’s glory days. He was originally a Batman-like hero who even had an Arrow plane, an Arrow cave, and an Arrow car. Thankfully, he didn’t have an Arrow dog named Ace.
Neal Adams revamped his costumed in the late 1960s, then the artist joined Denny O’Neil to send the hero going across the country with Green Lantern in an attempt to make the Lantern’s book more “relevant.”
Green Arrow became more liberal politically as time went on, and we saw (and some of us even enjoyed) his occasional debates with Hawkman, who was perceived to lean more to the right.
When Smallville couldn’t bring on Batman because the character’s TV rights belonged to another company at the time, the show’s producers brought in Justin Hartley to play the Emerald Archer. Hartley had previously played Aquaman in a failed TV pilot.
After appearing on Justice League Unlimited quite a bit, Green Arrow became a semi-regular in the Batman: The Brave and the Bold animated series on Cartoon Network.
Since the 1970s, Green Arrow has been romantically tied to Black Canary, who came to Earth-1 from Earth-2. They’ve teamed up in the comics several times, although Mr. Lemire has said in recent interviews that he would prefer to keep her out of the picture for now.
One similarity the actors Hartley and Amell share is their inability to remember to put their shirts on when the camera runs. Maybe we should take a collection of funds to buy shirts for those actors. (Just kidding! I know the ladies enjoy shirtless scenes no matter how often they make guys gag.)
Where will Green Arrow go from here? I hope his star continues shooting high and that he’ll carve out his own place in comics, TV and the movies.
C’mon, folks, you know you’ve thought about it…. they both shoot arrows, they both wear Robin Hood-inspired get ups (at least, Green Arrow did. Hawkeye sported that weird flap thing that hung down in front of his crotch for a while, which seemed Robin Hood-esque, or Old English flavored… to me, that is), they’re both excellent martial artists, they’re both really tough, they’re both blond (yeah, that’s a meaningless comparison, but I couldn’t help but notice), they both have trick arrows, and they both have cantankerous, quarrelsome personalities in their comics appearances.
But… if there could only be one, who’d bust open a can of whoop ass on whom? Would it be Green Arrow, the amazing emerald archer of the Justice League? Or Hawkeye, the amazing, um… purple, archer of the Avengers? (I’d have used an awesome, more refined word instead of purple, like I used emerald for green, but I couldn’t think of one. Is there a more cultured, refined name for the color purple?) Marvel Comics’ greatest shot, or DC’s? (Not counting Bullseye or Deadshot.)
And thanks to movies and TV, things are different for these guys these days. Hawkeye showed the whole world his prowess in the hand-eye coordination department in The Avengers this past summer (and he did it in style), and Green Arrow has Arrow, his own hit show on the CW network, where he busts out ninja moves and shoots arrows at villains too. Their interpretations in these live-action stories may give you a modified impression of each person’s toughness level.
So, if there was a fight, and the only thing each man could use were his arrows and physical abilities and NOT help from other superheroes…
Who’d beat the crap out of whom?
Other than some minor digging when I read the show was on the CW schedule, and some familiarity with Oliver Queen from one of the few episodes of Smallville I have seen, I am a stranger to DC’s Green Arrow character. After last night’s debut of Arrow, I may have to amend that situation. If the rest of the season is half as good as the pilot, I have a new favorite show (and a realization I may have a thing for archery- Green Arrow, Hawkeye, Daryl Dixon, I sense a pattern here).
In a nutshell, billion dollar socialite party boy Oliver Queen (Stephen Amell) was in a boating accident with his father (Jamey Sheridan) and presumed dead. But in reality, he spent five mysterious years on a strange Pacific island. Now he has been rescued and has returned home wanting to make amends. And making amends includes dressing up in a green hooded outfit, utilizing some super archery skills and high tech arrows, and taking out names from a little black book one by one.
What works about the pilot is the way the episode stacks the storyline. Plot and character development are shared with excellent timing. The Queens’ maid, Oliver’s best friend Tommy (Colin Donnell), Oliver’s sister Thea (Willa Holland), girlfriend Dinah Lance (Katie Cassidy) and Detective Quentin Lance (Paul Blackthorne) all react to Oliver in ways that tell us about his questionable past behavior without the need for more flashbacks beyond what happened during the boat accident. I love the nice bit of Hamlet thrown in when upon his arrival home he finds his mother has married a business associate of his father, Walter Steele (Resident Evil’s doomed, smooth voiced Colin Salmon) whom Oliver doesn’t seem to like or trust right off the bat. The added layer of family tension between Oliver, his much loved but troubled sister Thea and overprotective (or is she?) mother (Susanna Thompson) could make for its own CW show. Everyone seems to have a secret, some may even be bigger than Oliver’s.
The action is well done, quick paced. Mystery abounds and gives the impression the storyline will not run out of surprises anytime in the near future. I am not sure who in Oliver’s life we can trust. And I want to know what happened on the island! And there is a mix of humor to lighten the dark. Tommy’s rehash of what Oliver has missed in five years includes a rundown of the Superbowl champs “And Lost. They were dead the whole time. I think.” Oliver also has some physically engaging moments with his bodyguard Diggle (forced upon him by his mom) that give a laugh. I am curious to see how Oliver and Diggle’s relationship will grow and if Diggle’s intentions are ultimately good or bad.
I can’t say anything doesn’t work about Arrow but there is that gnawing bit of “Isn’t this sort of Batman’s story?” But we can all just suck up and deal because there are archetypes to a hero’s story and that is just the way it is; it’s new wine in old bottles, as they say. I also could do without the narration by Oliver, but it is not too intrusive. And while I am a Katie Cassidy fan (she was my favorite Supernatural Ruby) my initial impression is I didn’t feel any immediate chemistry between she and Amell. I hope we get to meet Dinah’s alter ego, The Black Canary, sooner than later and perhaps some vigilantes in disguise will heat things up between them.
From weightlossandtraining.com
Now for a brief interlude from my hormones. The ultimate moment for me was Oliver’s workout / training montage. I didn’t know people could do that and it didn’t look like stunt double, so Mr. Amell, hats off to you sir, nicely done. I warned Proffitt by texting “hang on to your ovaries” before she watched. Back to all seriousness now.
I am really looking forward to keeping up with Arrow and following Mr. Amell’s career. I hope no ill falls Paul Blackthorne’s character because he is one actor that needs to be brought to the front line instead of his usual supporting roles. (Yes, I am still holding a grudge for the cancellation of The Dresden Files.) I hope the CW treats it as more of a serious story for grown-ups and takes more of the Supernatural route, avoiding the young adult soap opera marketer of fashion and music route with a “this week’s episode of Arrow featured music by ____” closing. And who among us is not excited and anxious to see John Barrowman’s appearance? All in all, Arrow may just make up ever so slightly for the lack of a more major storyline for Hawkeye in The Avengers.
Cyclops, possessed by the Phoenix Force, killed Professor Charles Xavier last month in Avengers vs. X-Men #11, possibly one of comics’ most significant deaths. The amazingly popular X-Men starred in 1991’s X-Men #1, the best-selling comic book of all time, and several movies and animated series since. Their founder’s demise will yield consequences, not just for the characters, but for countless fans as well.
Professor Xavier put the “X” in “X-Men,” and the tone and spirit of that team’s stories will be changed irrevocably without him.
His death signals the end of the X-Men’s halcyon days, which hooked many of us on the characters to begin with. Those were the days when, no matter what happened to our mutant heroes, they wound up back at the mansion (or somewhere), safe at home as one happy dysfunctional family. You felt good knowing that the X-Men, at their core, weren’t just about surviving oppression; they were about the union that comes from surviving together, and a strident undercurrent of community shined through. They fought for a world that hated and feared them, and we bonded with them the way they bonded with each other.
The Professor’s death represents a tonal shift in the X-Men’s purpose away from that period, and from stories that thrilled many of us when we were younger and more idealistic.
Murder rarely lasts in comics, so it’s possible he’ll return in spite of Marvel’s statements to the contrary. He’s died and returned before, and hell, he’s a telepath. Who’s to say his mind isn’t floating around in someone else’s body or as some kind of psychic ghost? (Besides, if there’s any power set that lends itself to survival after the physical body’s gone, it’s the mental one.)
But if Marvel makes this one last, the X-Men are in for an attitude adjustment that will change their identity, and it will be an interesting requiem for a man whose singular vision empowered one of the most creatively successful teams in superhero history.
Living in a Fatherless World
Sure, the Professor vanished before over the years, but never completely. His previous deaths weren’t permanent, and if he was away with Shi’ar or something, you knew he’d be back. But if this recent death is the real deal, the X-Men really are on their own, and reality is bittersweet. The Professor was like your parents: No matter how old or independent you grow, they’re always around, even if you don’t need them anymore or live in their house. It’s only when they die that you are truly alone, even if they supported you and taught you how to live without them. You’re strong enough to go on, but you’re not too strong for the sadness.
That made Professor Xavier different from other team leaders and mentors, and that’s why he resonated so uniquely with readers. The Avengers, Justice League, and Teen Titans have leaders, but those people aren’t members’ parents too. Hawkeye, Quicksilver, and the Black Widow respect Captain America, Thor, and Iron Man, but those men didn’t raise them. Green Arrow, Hawkman, and Booster Gold weren’t maligned, insecure teenagers whom Superman, Batman, and Wonder Woman took in. And Robin, who’s often in the same age group as his fellow Titans, is like a brother or team captain to them, not a father.
Consequently Charles Xavier, with his expansive estate full of young people who had nowhere else to go and few grown-ups fit to handle them, embodied something special. If it’s true that people live vicariously through stories they read or watch, then X-Men tales made the audience want to live, learn, and be loved in an environment where others struggled the way they did. Readers felt safe under the stewardship of a benevolent professor who wanted what was best for them.
The Saint Who’s Sinned… Quite Often
The Professor had his good points, but he wasn’t without fault.
In fact, his transgressions are serious, depending on your sensibilities:
But the big question is, do these transgressions tarnish his legacy as a force for good?
It’s hard to say. That whole I-love-Jean thing is kinda skeevy, but most writers pretend it never happened (thank goodness), so it’s debatable these days if it’s Marvel Universe canon. And memory wiping the X-Men to make them forget that Krakoa killed some of them? TOTAL retcon to create drama, even though it was arguably out-of-character and made poor Charles look bad in the process. You can give him a pass for that if you’re forgiving, because what really happened was, Marvel sacrificed his integrity to sell books (which no serialized character is immune to, no matter how revered). It’s mainly the Gabrielle Haller / Legion stuff that sticks like a thorn in the Professor’s semi-pristine side, and it’s a pretty big thorn.
You can probably think of other dastardly deeds to pin on him, but, like most parents who disappoint their children, that doesn’t mean he didn’t give others love and security. The Professor nurtured several superheroes in a way no other mainstream Marvel or DC character has in such a large number.
The Future of the X
The Professor’s death signals the end of the X-Men’s golden era, at least when it comes to their mission statement. He preached tolerance and advocated for unity between the oppressors and the oppressed, and that wish defined the X-Men for decades.
But it’s a legacy the X-Men may have abandoned years ago. The character hadn’t occupied the spiritual leader role since 2007, circa Messiah Complex, and his perspective on the X-Men’s place in the world had possibly grown obsolete. For the better part of 10 years, the team hasn’t been written as superheroes protecting a world that hates and fears them; it’s been written as a small country of victims fighting against a world trying to wipe them out.
It’s no coincidence that Marvel ushered the Professor out of the picture right around the time when the X-Men started camping out on an island nation thousands of miles, both literally and figuratively, from the stately mansion they occupied previously. Cyclops took the mutant leader role, and then he fought Wolverine for it, and Marvel conveniently wrote the Professor out of the action the whole time. He returned from storyline limbo to be killed off in Avengers vs. X-Men so the “kids” could captain the ship through turbulent waters without him.
Consequently, thousands — perhaps millions — of fans may regard his death with a collective “meh.” The Professor’s role in the Marvel Universe was to help young mutants develop into adults, so if many them are now grown, who needs him? In fictional storytelling, when a character’s not needed anymore, that usually means death, so who cares, right?
Several will, starting with the X-Men themselves. Marvel bigwig Axel Alonso himself told Newsarama that the Professor’s passing will have “a ripple effect across the Marvel Universe,” and the ripples will undoubtedly shake his students the strongest. His absence will evoke powerful emotions from the X-Men, driving story for years to come.
But for the readers, his death won’t just give us interesting X-Men tales to read; it’ll prompt us to remember a part of our own lives more fondly. When we were younger, and the world was simpler, it was wonderful to read lovely tales of outcasts who were metaphors for those of us who felt different from everyone around us. We wanted to be those boys and girls with special powers, great adventures, and who earned respect at a school we wish we had… and it all started with a telepath named Charles Xavier.
So here’s to Professor X, comics’ most prolific father. You’ll be missed if you’re truly gone, and may your unconditional love guide the X-Men for the rest of their lives, no matter what they face, just like it comforted us no matter what we faced in ours.
The new CW show Arrow has been building excitement since it was announced. Now they have yet another feather in their cap. It has been announced that episode 107 of the series will be written by a team of writers including superstar of the comic world Geoff Johns. Johns is DC Entertainment’s Chief Creative Office and writer on legendary comic books such Superman, Green Lantern and The Flash just to name a few. Also writing on the episode will be fellow comic writer Marc Guggenheim who has worked on The Punisher, Aquaman and also The Flash. Andrew Kreisberg is the third member of the team and also boasts some impressive credits having worked Justice League, Star Wars: The Clone Wars and Warehouse 13 TV series.
The title of the episode will be “Muse on Fire”. While we do not yet know what the plot of the episode will be, but Johns has said the we can expect to see the Huntress. The Huntress is a popular character and is just one of many who have been confirmed to be a part of the show. Stephen Amell takes on the role of the Green Arrow, Oliver Queen while Australian actress Jessica De Gouw will play the Huntress. Yesterday it was announced that Battlestar Galactica alum Tahmo Penikett will guest star as the Huntress’s father’s right hand man. A comprehensive list of confirmed characters can found here. Given all the characters that will be a part of the series and all the talent behind creating it The show is bound to be a success. Johns is as just as enthusiastic about writing the episode as we, the fans, are to see it.
The Arrow premiers up on October 10th and can be seen on the CW network at 8/7c.
