I just ordered it due to this comment!
you're changing lives!
Like, I'm not a WW fan, as far as solo stuff goes, but Gail's WW is my shit.
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there was this cool story in batman black and white that featured the original green lantern and he was able to alter reality, rollback time, and all sorts of crazy stuff. also said gotham was his home even before batman arrived. i know nothing about the original green lantern. what's the deal with him?
-Gotham is his OG city
-His weakness is wood
-Solomon Grundy is originally his rogue
-His ring is just regular magic, unlike the GL corps' space magic
Then he got retconned the FUCK out of.
-Now he has the Starheart and is an immortal being made of Starheart energy and is one of the most powerful people on Earth pre-Flashpoint.
Wow, finally read Tales from the Dark Multiverse: Judas Contract, and that was...not good. At all. The premise started from so flaky a catalyst that the whole thing felt totally unearned. None of what she did made any sense. Like, she just decides she's going to start killing all heroes because Dick Grayson told her that our mentors shouldn't control our destiny?
Insane.
Blackest Night is the best of the LMAOverse stories imo. It's the only one that isn't just about someone going full bad guy and killing people, and has a good twist. Definitely the most creative and fun one. I liked Knightfall until the stupid ending. Death of Superman and Infinite Crisis are okay and Judas Contract sucks.
I'd say Knightfall is probably the best, but otherwise I'd agree. The thing with these books is theme is an "absolute power corrupts absolutely" kind of thing. Terra, by that logic, made sense a lot, but her jumping off point was so slight, not to mention the art -- which was very clearly intended to imitate Perez but not doing a good job -- and as a result didn't pan out well. Death of Superman falls in, but it's vague in a way as to how Lois exactly is kinda fucking everything up. She's basically becoming the Punisher, more and more aggressive, but then Clark comes back and gets killed and...that's it? It's whatever. Infinite Crisis is very predictable though, is my issue. I found it to be really good, and gripping, but also really predictable. It's born out of Ted having an inferiority complex, which...does he, is the question? It was just kind of weird. Blackest Night and Knightfall are fantastic because the power corruption is the entire thorough line for the story. With Blackest Night, it's legitimately where it kicks off as the "where it all went wrong": Sinestro gets the power and refuses to share it. Then at the end, you finally have Sinestro given a chance to redeem himself selfishly because Scott fucks up and he uses his power to make things right and fucks it all up again. Then Knightfall is all because Azrael couldn't give up the title. He couldn't give it back, and then he takes Gotham over absolutely, rules it, but just fucks it up. And he has to rub it in Bruce's face, but Bruce sees what he could have potentially been doing this whole time and given everything he's been through takes the opportunity and says fuck you and just takes the whole damn thing over himself once someone gives him the power.
Quite frankly I love it, but just the execution isn't the best on a couple of them.
Aaron: I've stuck pretty close in terms of the stories I wanted to tell, the characters I wanted to bring into play, in terms of the villains. I'm still having a lot of fun exploring all that.
The next couple issues are a part of that. #31 is a big part of that. It deals with Tony Stark stuck in the past, running up against the influence of Mephisto. We've seen Mephisto at work in different aspects of the Avengers timeline over the course of the series. We've seen him interact with and play a role in some of the origins of those prehistoric Avengers, and now we'll see him butt heads with Tony Stark. We've seen Mephisto work in the present day.
Then #32 brings all that together as we focus on some of those bad guys who have been a part of the book. We touch base with Namor in Atlantis, the Red Widow and the Winter Guard in Russia, the new kingdom of the Vampires we established in Chernobyl.
Jason Aaron reads this post.
I mean, will two issues of "touching base" really fix the issue? Like whether or not he's been sticking close to his story has never been the problem. The problem is that it's so fucking drawn out and poorly paced and shitty, problematic character portrayals.
Like, goddamn it the concept and core thesis is so fucking strong Aaron just give me what I want and you have a fucking 10 of a book.
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