diflucan 2 doses

On Endings….

Sorry I’ve been so reviewless lately — just stupid swamped between various store bits (CEO and order form being the same week always hits me hard, and we’ve been negotiating to rerack the store, as well as doing our first advertising in a long long time, since DC is making with the 75% co-op on Facebook and Google ads for The New 52), and home stuff (school starting, various PTA duties from the beginning of the year, repainting our downstairs, so we have some rooms that look like a minimalist’s wet dream, while others are a Hoader’s nightmare, boxes and pile of crap teetering everywhere) and then all of my extra-curricular stuff like writing Tilting and crusading various fronts of nuWar (agitating seems like it takes more and more CPU cycles every year that I’m past 40!)… I’m doing too many things at once, agh!

I’ve decided, personally, that I want to hold off on writing any kind of a review of JL #1 until I have the week #2 books in my hand, because there’s such a crushing weight of expectation upon that one book, that I want to have a little context before I say anything in public — so I’d say, expect a full slate of 14 comics tackled by Thursday of next week.

So, instead, maybe let’s talk about the End of (my) DC Universe, after the cut…. (first warning” spoilers below):

I was really always a DC kid, and I think a lot of that is because of those 100 page giant comics that had new modern stories, paired with like classic Golden Age reprints. Not only did the IDEA of a JSA kinda blow my child-mind, seeing examples of the original comics was even more amazing to me. I knew that I didn’t know everything about all of these past adventures or characters, and, in fact, I would probably NEVER know all about them (it’s not like I thought I’d own a comics shop when I was 8), but just the existence of a decades-back history hinted at some crazy-ass world to me, that I way wanted to know more about.

(And then, when I encountered the LSH, and found out that it also extended a thousand years into the future, I probably cried a little, in joy!)

Flash-forward to ’85 and Crisis, and the First Wave of Reboots (Man of Steel and the Perez Wonder Woman, especially), and I’m all of, what, 18 then, and it’s ’89 when I opened my store, so, yeah, this specific iteration of the DCU, it’s pretty much mine and my peers.

I remember how cool it was for Alan Moore to properly “end” the old Superman, and so now that “My” DC is ending, I was really really hoping that we’d get great final issues of books. There were a few — I loved the end of Secret Six, and Batgirl, and of Roberson’s Superman, and maybe especially James Robinson’s final JLA (Having never warmed to his run before that!) — but for everyone one of those, there were probably five that felt more or less like fill-in issues, or just sudden-stops-because-we-were-told-to, and that kind of hurt.

What hurt maybe even more is there weren’t any individual goodbyes. I mean, we’ve got the damn lettercols back — could they not have had a final text-based send-off? But I guess no one at DC wanted to attend the funeral when they’re already planning the bris, right?

Which brings me to FLASHPOINT #5.

Flashpoint #5 also has a lot of the weight of expectations on it, I guess, as it’s supposed to explain the why and the how of the nuWorld order (though that part of the hand off is arguably less important than The New 52 and what they’re about (the circumstances of the birth WILL NOT MATTER if the baby has 10 toes, and all of it’s parts where they belong, and it can gurgle and coo), but it’s really the end of my personal DCU, and I’m going to judge it like that.

There will be spoilers onwards from here, so I’d urge you not to read this before reading the book.


Look away…




I’m warning you!


Well, OK, then, you can’t say I didn’t warn you….

What ultimately gets me the most is just how sloppy the overall execution of this has been. First off, the book begins with the revelation that it is actually BARRY who changed the timeline, and not Thawne. That’s borderline clever, in a let’s-invert-expectations kind of way, but I think that waiting for the final issue to reveal that little sting is hitting it far too late. More importantly, it doesn’t actually change Barry’s motivations an iota — he still wants the EXACT same thing he wanted before: to set right what once went wrong, hoping this time will be the leap….home…. er, wait, wrong show.

But, anyway, all this nugget of information does is make Barry feel like a dick, but his wants and desires stay the same. Just with a dickish overtone.

But I really do have a problem with Saint Barry, the one remaining Silver Age idol who had not been retroactively made clayfooted (though, oddly, I think I’d argue he was the FIRST one to be unceremoniously dicked with in an attempt to goose sales in “The Trial Of The Flash”, ultimately presaging “Death of Superman” and “Knightfall” and “Emerald Twilight”), the one in fact who went out Saving Us All in COIE, as essentially being the Big Bad of the Last Crisis. That’s kind of in poor taste.

I don’t even GET why Barry was brought back in the first place. Surely the plan wasn’t truly to bring him back just to do this? And, presuming that, then morphing the plan so that it’s Saint Barry who what duz the deed…. I mean, maybe that’s the perfect distillation of “Superhero Decadence” right there? It’s kinda messed up, and not in a “but wow that’s really clever!” way like, dunno, Miracleman, maybe? It’s… well, it is a bit too in reference and on the nose, isn’t it?


Equally icky for me was Flash’s inaction in the story. Not only does Barry not actually do anything to help the world he is in, but when his greatest enemy is at his highest moment of triumph Barry does nothing to resolve the situation, and it falls to dadBats to (naturally) murder Thawne from behind.

Because Saint Barry? The REAL one? Well, Carmine woulda had Barry not only avert the war between the Amazons and the Atlanteans, while returning Superman to the world, and then setting right the timeline, he also would out-Science (even if it was Bad Science) Thawne at the last minute, on top of that. And he at least would have yelled “Murderer!” at Thomas Wayne.

(Also: I way did NOT understand how Barry fractured the timeline. I don’t mean the technobabble that Thawne spouted about the mechanic, I followed that — no, I mean the “How does Barry’s interference with the timeline actually impact entirely disparate events like where Superman’s rocket physically lands, or who Joe Chill killed?” There’s certainly no causation, that I can see, and this strikes me as more of the fundamentally lazy “Superboy punched a wall” of an explanation for continuity errors.)

But, OK, whatever, he’s got to put it back together, and that’s where I hit my next problem. Well, or two packages of problems.

Dealing first with the actual process of rebuilding the universe: Johns makes the bizarre choice of introducing a mysterious figure who makes vague pronouncements about a “they” who split the timeline in three (Wait, what?!?! Wasn’t the explicit point of the 52 Worlds idea was to have one specific chronology/cosmology? You can’t just say “no, yeah, but there are also distinct alternate timelines within that world, didn’t we mention that?” and hope to get away with it.)

This is a manyfold mistake, in my mind — first off, I really think there needs to be a complete moratorium on any kind of continuity/cosmology-changing foe/being/society for… like 20 years. Maybe more. We need to be done with that. One day, maybe another generation who has forgotten the lesson of their forefathers will dredge it out again, but nuDC must be a hundred percent free of that kind of comics and storyline, or it is in trouble before it begins.

The second problem here is that, wow, in setting up DC Comics – The New 52, you just built a backdoor into the very structure of it that let’s you undo it if you wanted to. On the bus ride home after work, I thought of at least 2 and a half ways I could reverse this with a snap, and I’m a hack, not a gifted writer. That’s bad, because I think it undermines the foundation of the new iteration. At the basic level: you don’t put a gun in act one, unless someone fires it before the end.

My third problem is more visceral, for the idea from The Mystery Being that there were three split timelines. The art was kind of sketchy about what they ACTUALLY meant, but I took it to be the Vertigo, Wildstorm and “old DCU” Universes. In other words, sort of more or less a meta-comment on the interanl company structure more than anything. Which is, y’know, fine, except for that I don’t see a necessary distinction between Vertigo and the DCU, at least in regards to DC-originated titles. Sandman and Swamp Thing and Doom Patrol and Animal Man all very clearly took place in the DCU. Shade certainly could have. I’m not seeing any massive conflict, or that the continuities of those stories were removed from that particular fictive universe. Kid Eternity, maybe, didn’t happen (but I think it did), and, even if it didn’t, that’s 16 issues we’re worrying about? Dan Didio might have been told by someone that they were, but, yes, Alan Moore’s Swamp Thing CLEARLY took place in the DCU, as did pretty much everything until the Tefe book. So why, y’know, point out “well, we’re completely ignoring anything from Tefe onwards, until ‘Brightest Day'” while at the same time insisting that Clark and Lois were never married at all in the first place? There’s not a “universal” demarcation, is what I’m saying. “Bringing Back” Swampy and A-Man, and Shade or whoever isn’t a trick of any kind, because any real DC fan knows that those stories happened there !

Then there’s the third part of that triptych — The Wildstorm universe. And, like, I know that DC really really values Jim Lee, and, I really like Jim personally, and have a tremendous amount of respect for the titles he created, and the work he provided creators space to do, but for any attempt to *handwaves and does the obi-won voice* “The Wildstorm Universe was always meant to be integrated with the DC Universe”, I kinda have to say “Fuck You” to that idea. I don’t have a problem with them actually integrating aspects, because if people don’t like it, those books will rapidly go away, my problem is specifically the notion is was meant to be that way, and I just can’t see that for a deal that wasn’t made official until 1998.

Finally, we get into the “post change” section, where nuBarry talks to nuBruce, and it is the very first conversation of the nuUniverse.

And they talk about the old one.

And even if nuBarry may or may not remember “my” DCU, he DOES remember the FP one, and there’s a physical, tangible artifact of that.


I don’t mean to Monday Quarterback, I really don’t, but I have to say, I really think it would have been smarter to end with that same shot of Barry waking up from a dream, but then instead of rushing off to the Batcave to seemingly have a “today” conversation about the timeline switch, for him to walk back into his lab wall with all of the chemicals with someone saying “Mm, looking like there might be a storm” or whatever, and leading Barry into having his origin all over again (off camera, though). Then you at least are leading to a new fresh relaunch, instead of complicating matters by having at least two people who affirmatively know the  world is different, as well as a specific physical object to key upon.

(also, in terms of that letter, am I the only one who looked at the size of the writing, and the dimensions of the page, as presented and thought “there can’t be more than a single sentence we’re not being shown”?)

I *did* get a real emotion moment out of the Batman-stagger when he was handed the note, but the cost of that knowledge, especially to Bruce, of all people… I don’t like the cracks it puts in the foundation from the first day of go.

Maybe I am a crazy fanboy freak. I don’t really know. But it really bothers me that there are multiple significant backdoors built into the end. Suspension of Disbelief: straining.

For that reason, and all of the others above, I thought FLASHPOINT #5 was pretty AWFUL, though that’s kind of a biased read. As an action-adventure story designed to get DC Comics – The New 52 into place it zips along just fine — from that point of view, it is reasonably OK.

The nice thing is, with this written, My DCU is done. I’m ready to approach the new one with a completely open mind. I’m looking forward to being entertained with no especial concern about “what happened before” (Except… where they explicitly rub it in our face)


As always, what did YOU think?


31 Responses to “ On Endings…. ”

  1. Woooof. I’ve been pretty excited about this relaunch ever since it was announced, but after reading Flashpoint #5 I really have to question why. Towards the end of the book my mouth just went agape and my mind blank. I just don’t get it! Was I supposed to understand this comic? Was it supposed to be entertaining? What is the point of this comic book?

    I just picture Geoff Johns scribbling out the final pages of this script and then pausing contemplatively, brow furrowed, trying to decide how to end an entire era of comic book history. In a fit of inspiration he pumps his fist and then writes down what had to have been the most baffling and incomprehensible description of a two-page spread in the history of comics.

    You know, I *want* to buy comic books. I *want* to give DC my money in exchange for cheap, entertaining stories about aliens, magic, and costumed crime-fighters. But when I read stories like this I find it difficult to justify my hobby. I just spent $20 over the course of four months on a story that ultimately left me baffled and indifferent.

    I’m willing to keep trying, because maybe I just need to readjust my expectations of what a comic book should be. But is that reasonable? Shouldn’t these things be good? Or at least entertaining? Do I just need to stop reading comics written by Geoff Johns?

  2. One good thing that came out of merging the timestreams is that we finally got a big event comic to reintroduce John Constantine and Swamp Thing back in the mainline DCU after all these years. It’s been too long!

    Wait, What?

  3. I’m an old school DC fan myself and I remember those 100 page giants. I loved that era, as much as I loved the post-Crisis era. Obviously there were things that bothered me (like Superman not thinking of himself as an alien, if he doesn’t care that he’s the last son of Krypton, then what’s the point of being the only one left from Krypton?).

    So, I’m sure I’ll like what DC is going to do going forward.

    That being said, I think DC really missed a chance to do something special. As you stated, the perfect ending to Flashpoint, would have been Barry becoming the Flash again.

    They should have just started over from scratch. Superman, Batman, Flash, Green Lantern, Wonder Woman, etc., all start at the very moment they become heroes. Nothing that happened before Flashpoint would count anymore.

    Instead, they are making the same mistake they did with Crisis. By having some of the things count, it creates a far more convoluted universe. War of the Green Lanterns happened, Damian Wayne is Robin (and if you are going to make Barbara Gordon Batgirl, because the public recognizes her more, then why isn’t Dick Robin?), etc.

    Yet, the recent Brainiac are couldn’t have happened, because Superman’s parents never lived to see him become Superman. New Krypton couldn’t have happened, so what about Zod? Nothing that took place in the New Teen Titans could have happened without Cyborg.

    DC could have milked this for years to come. Fans would be waiting for Robin to debut, waiting for the Joker, waiting for Supergirl, Batgirl, the Teen Titans, Catwoman, etc.

    People would be going out of their mind waiting for the Justice League to form.

    Instead of a Batgirl, Superboy, Supergirl, Firestorm, Birds of Prey, Teen Titans book, we should be getting books starring Cyborg, Black Canary, Atom, Shazam, Plastic Man, etc. Since those are the characters in which the DCU universe is being built on.

    Having an an Earth-Two isn’t a problem, since that would explain Powergirl. Having a series taking place there does. Create a new Dr. Fate, a new Wildcat, a new Hourman, a new Starman, etc. to go along with Mr. Terrific.

    From some of the early reviews I’ve read, I’m extremely excited about what I’ve heard, I’ll be reading DC for a very long time (hopefully), but I just feel they missed a great opportunity.

  4. I think reading into Flashpoint as an elseworld story, or a major event meant to set the stage for the new DCU is a mistake. I think DC advertising it this way was a bigger mistake. What it was to me, and I’ve argued this elsewhere, was a small personal story about a miserable old bastard who lives in a world populated with misery and the only thing he wants more than anything is a better life for his dead son. Knight of Vengeance is absolutely crucial to this story, in the same way that Superman Beyond was to Final Crisis, though this is less intentional.

    When you see the story in that fashion, I think it succeeds in every merit. It’s honestly a touching story and the fact that Thomas is willing to burn it all down just for the notion that his son can live on was beautiful and is the entire reason that ending has the impact it does. For that reason alone I would recommend Flashpoint over every other dull sterile event (Final Crisis withstanding) over any other event DC or Marvel have published in the last 6 years.

  5. Thank you for writing this. It articulates everything that had been bugging me about the entire ‘Flashpoint’ event.

    I’ve been a DC fan–and buyer–since getting a random issue of ‘Batman Family’ as a kid in 1976-77. And after ‘Flashpoint’ and ‘Justice League’ #1, I think I’m done with the DCU for now. We had a good run.

  6. @Brian: yep it was pretty terrible. I just hope no one picked it up thinking it was part of the new 52. Reading uncanny x-force 14 right after this was a breath of fresh air and i am much more of a dc fan. Yes it’s gruesome but not in a Geoff jones way.

  7. Did anyone else find it strange that the weird hooded lady from Flashpoint #5 was in JL #1 starring at Vic during that football scene.

    Anyway yeah pretty lackluster opening was hoping for more meat on the launch comic.

  8. Not bad but weirdly focused, like pages of Batman reading and talking but no resolution to Wonder Woman/Aquaman war (and who was ‘Penthesilea’ anyway) or any of the many other things ‘set up’ in the first acts. Like you i had conceptual problems with the idea that Reverse-Flash, presumably Earth-bound, could somehow affect things occuring in space, other dimensions, etc etc.

    However i was a little disappointed that i did not guess the rationale for the reboot-verse. my guess was that Reverse-Flash had been screwing with the timeline long before, so when Flash eliminates him (from the future, i guess) he undoes RF’s changes… which are then realized to be the ‘old’ DCU. I thought that saying the DCU had regained its ‘true’ course would be harder to walk back from. Of course it’s hard to use cause and effect logic when the writers don’t feel the need to explain either more than hand-wavy magic.

  9. What’s with Johns’ device of creating these Deus Ex Machina to move the story ahead? Parallax as an entity that’s existed since the beginning of time (hey, yellow weakness!) and now this hooded figure. Now, instead of having a completely clean break, you’ve got this character who knew the old DCU (and we’re seeing for the first time) that’s showing up in all the books to check up on this new reality.

    Also, I went to two midnight openings last night (MIdtown, which I didn’t get into and Hanley’s, who was giving the store away at 40% off). The impression of this lifelong reader? Not a single new face in the crowds. Sure, fans are going to flock to the sales and events, but where’s the concerted effort to get new readers?

    Also, can we talk print run? 200K? DC has the power of Warner at their back and the best they can do is 200K for a first print? I know it’s a far cry from the wacko days of 7 million copies of XMen 1, but 20 years later and they can’t muster 3% of that? For as huge as a gamble this is for DC, they sure played it conservatively.

  10. @bad wolf

    “and who was ‘Penthesilea’ anyway”

    She’s one of Hippolyta’s sisters. For a second I misremembered in WW continuity as her being the leader of the Bana-Mighdall amazons, but, no, that’s Antiope. Pen appeared first in WW #33 (1989)

    Here’s the wiki page for the “real” one:



  11. Would you expect new faces at a midnight opening? I sure wouldn’t – by their very nature those things are for the die-hards.

  12. @Brian–Thanks for the tip! Guess i kept expecting her to be revealed as, i dunno, Circe or someone eventually.

    I forgot to say, i was definitely surprised/disappointed at the “two pages that set up the whole new DCU” spread that editorial had been talking up. Confusing layout, confusing subject. Like you i read it as new DC being formed by a unification of old DCU, Vertigo and Wildstorm; but since old DCU was already an accumulation of DC, Charlton, Captain Marvel, Milestone, etc etc it didn’t really make any more sense then, well, anything else. The woman, i guessed, was supposed to be Deadman’s Rama Kushna, or maybe Karen Berger.

  13. I’ll be honest, nerdrage amuses me, not saying that’s what’s going on here, I just mean the ‘fan’ reaction in general.

    Flashpoint wasn’t necessary. At all. It was a series printed to mollify the fans while DC relaunched their line. It was to give fans a chance to get some sort of wrap up and finish.

    DC could have just said, “On September 1, we’re restarting the universe completely.” No explanation. Just started publishing new comics.

    But fans want some sort of finish and bridge–for many, they can’t understand that those kinds of things aren’t really necessary in a fictional universe. DC tried to give some carryover–and give some plot threads for moving ahead to the current fans. It could have been much better. It wasn’t great. But it really wasn’t necessary.

    As for backdoors, I always find that argument amusing. In the world of fiction, you don’t NEED a backdoor. When you write something later, you can create your own backdoor. “That wasn’t Hal, it was Parallax” goes back to “Phoenix wasn’t really Jean Grey!” goes back to “Holmes didn’t really die at Reichenbach Falls!”

    Backdoors aren’t needed at all, especially in a world where reality is defined precisely as any writer wants to.

  14. There’s also a great big gaping flaw in the “splintered/three worlds/need unified” thing – in the process of incorporating Wildstorm, the JSA is *forced out* of the core timeline! (possibly others too – there seems to be some suggestion the Marvel Family have been shoved out as well) Surely that splinters things far more…

    PS: With all the reboots since Crisis – Zero Hour, Superman #200/Birthright, Infinite Crisis/52, etc – I don’t think it’s necessarily true to call the “oldDCU” the same DCU that came out of Crisis…

  15. I have to say I liked Flashpoint #5, but that may be a result of variations in what I’m looking for in a story.

    I didn’t have a problem with the late reveal of Barry’s actions, either: #1 Barry finds himself in the wrong timeline, #2, He takes steps find help & correct it, #3 He gets his powers back, so he can correct it, #4 he decides that he needs to save the world he’s in, even if it costs him his own, and #5, he finally finds Thawne, who is the only one in the position to tell him what really happened. That Barry’s motivations don’t change isn’t surprising to me; I don’t mind if heroes make a mistake, but do mind if they fail to move to correct it.

    The ending/2-page spread was also a plus for me. It was always bugging me that this perfectly serviceable Flash story/event was being pressed into bearing the weight of the entire not-a-reboot (in much the same way that a perfectly good Grant Morrison epic- Final Crisis- was pressed into duty as a summer event it clearly wasn’t.)

    That there is apparently a larger power at play takes off some of that added weight, and makes me think that there is more to this relaunch than just a need to get more market share. For me, that’s good, because what I want to read is a good story that goes someplace, and I like the idea that there is really a plan (even if it’s flawed; I’d rather re-watch, say, Lost over ANY number of Star Trek episodes.)

    Now this is just my preference, for stories that are planned out over having the same or similar stories month after month (which is a thing comics, and television for that matter, have done for decades) and I’m well aware that many other people would prefer the opposite. But I’m happy that there is at least the illusion of a plan, and happy to see how it plays out (which will be into Multiversity, I think.)

  16. Great review.
    I think the problem here is that DC believes – perhaps rightfully so – that it needs to try and satisfy two masters.
    Yes, they want to lure in new readers with fresh takes on their characters, both iconic as well as the B, C and D-listers, and all new 1st issues.
    But they also recognize that likely a large chunk of their existing fans will cry bloody murder if Justice League and Superman and Wonder Woman and a whole bunch of other titles just launch from scratch this month without some sort of an in-universe explanation for major and minor changes.
    Now, as a long time fan I appreciate the effort to explain changes in continuity. But as a 36-year-old fan I’m also kind of over the need for those explanations. I’ve seen so many of them that at this point I just want to read damn good comics. It just becomes silly to sit down and think,”Okay, am I reading a pre-Crisis on Infinite Earths story, a post-Zero Hour story, a post-Hypertime story, a post-Infinite Crisis story or a post-Flashpoint story?”
    And then there is what just seems like a totally schizophrenic approach by the folks running DC to publishing and story-telling.
    It was just around three or four years ago that the one-two punch of Infinite Crisis/52 re-created the Multiverse that DC had done away with in 1985. Geoff Johns and Dan Didio both played major roles in the Infinite Crisis/52 events.
    And readers had all sorts of expecations about what the return of the Multiverse meant for storytelling.
    But nothing much ever came of it.
    And now, just a few years later, Johns and Didio are basically saying, “You know what? We were wrong. We need our books to be accessible again. We need to get away from pleasing the die hard fans and try to bring in new readers.”
    And yet – and yet – as the above review of Flashpoint rightfully points out, they are giving all these signs that they’re not sure that is the right approach.
    We’re being told that Grant Morrison’s Multiverse miniseries is still going to be published AND that James Robinson will be writing a Justice Society title set on an Earth 2?!?!?
    How, exactly, does all this make the new DC Universe more approachable to new readers?
    As a reader I can deal with it. If Robinson’s JSA title is a great read, I won’t care what earth it takes place on.
    But I just look at DCs editorial decisions and see folks who are floundering, not sure what to do, and unwillilng to stick with any one decision. As a fan it makes me concerned about the company.

  17. It’s the same management and the same stable of writers, with 100% more Scott Lobdell. There’s no reason to expect the DC line will improve to match the ambition of the relaunch. My only hope, in any line of comics, is to find a couple of gems. Forgive the analogy, but giving a bad painter a fresh canvas does not increase the chances of them painting a better portrait. And I’m not referring to the writers as bad, that’s directed at the architects of the DCU. Whe
    And… Barry is Psycho Pirate now? Cool.

  18. I gotta say, I’m fascinated to hear your “two and a half” ways to bring back the old DCU…reminds me of the classic loophole Marv Wolfman built into the original Crisis and then mentioned twenty years later in the intro to the trade paperback collection!

  19. “Flashpoint wasn’t necessary. At all. It was a series printed to mollify the fans while DC relaunched their line. It was to give fans a chance to get some sort of wrap up and finish.”

    The thing is, I don’t think Flashpoint was originally intended to recreate the DCU. Flashpoint was planned at least since early 2010 and Didio said they began planning The New 52 last October.

    I agree, Brian, that FP should have ended in some way that made no reference to the FP timeline, but I did really like that scene between Bruce and Barry, mainly because Bruce treated him like a friend, which is a way Batman hasn’t acted towards other League members really since the 70s.

  20. There were far too many commas in that last paragraph.

  21. Thanks for the review. You articulated many things that I thought about Flashpoint.

    The series was a mess. It comes off as hasty, done in a hurry, not fully thought out… a collection of ideas thrown together by a committee. It was busy and you had to read the other Flashpoint titles to understand the full depressing story.

    It is kind of a shock that the main decision makers of DC were the ones who had their fingers all over this crime.

  22. And I’ve realized that Flashpoint ended the way it did BECAUSE it wasn’t originally going to be a bridge to the new DCU. If they hadn’t decided to revamp, #5 would’ve ended the same way just without that double-page spread and with Flash and Batman in their old costumes.

  23. Flashpoint was just as bad as House of M. There, I said it.

  24. The only way Flashpoint can be redeemed at this point, is if the DCnU Barry Allen is gay or something…, eye em aych oh.

    JL was a little too broad for my taste. I’d get about as much enjoyment as reading one of those Dorling Kindersley encyclopedias for the DCnU. Which, on some level, I do actually enjoy. But I much prefer doing RPGs to any of it.

    In short, they renumbered Action Comics. Let’s get real.

  25. My understanding was that Flashpoint was started long ago so that DC would have something already done in case the offices were moved to California. I can see trying to coordinate a cross country move being an editorial nightmare and this was so big (in number of issues) that it would allow them to still have books on the shelves during that time.

    When the decision was made to leave them in New York, they then culled some of the lower tier books to alleviate the excess shelf space they would be taking up. This was all announced in February.

    Then, suddenly in June, they decided to announce the relaunch of the DCU. I definitely get the feeling that the idea of the relaunch had been batted around before, but someone realized that they could use Flashpoint as the impetus of the relaunch. Without that 2 page spread, the story would have been just fine. It really seemed like it was all done and those pages were added later (the art doesn’t quite seem as polished as the rest of the book, especially the Vertigo and Wildstorm “before” characters). And because it was just added later, they didn’t change the ending.

    I am very interested in seeing where they go with all of this, but it seems less planned out than I had hoped. There really is no way to explain what did and didn’t happen like we were lead to believe would happen in that 2 page spread and the introduction of a “new” all-seeing character was a disappointment.

    I also wonder what their plans are for some of the characters they created just for this series like the Outsider and Britannia.

  26. My prediction for Flashpoint #5 was wrong. But it would have been so much more satisfying.

    They kept going on about how Barry was gradually losing his memories of the pre-Flashpoint world. So I figured that in Flashpoint #5 he’d go back to return the world to the way it was, but because his memories were damaged, he wouldn’t put it back exactly right, resulting in the new Ultimate DC. Like if he remembered Barbara Gordon as Batgirl, but his memories of her being shot by Joker faded, that would explain why Babs is back on her feet.

    It would have kept Barry doing the right thing to the best of his ability, and absolutely no one would have remembered the universe being any different.

    I was incredibly disappointed at the way they actually did it. It was cheap and lazy and just plain bad storytelling.

  27. I haven’t seen anyone voice my problem with the story, in that the ending is really self-defeating. In other words, if the Flash’s whole impetus for Flashpoint was to change the world back, it didn’t really get changed “back.” So why won’t he just try to do everything he can with the same fervor as exhibited in Flashpoint to change the New DC U back as well? Or is the Flash just going to look around the New U and shrug, saying “close enough.”

  28. “Or is the Flash just going to look around the New U and shrug, saying “close enough.””

    It’s what Homer Simpson would do, so I really hope so.

  29. I think the Flash “close enough” shrug would be as awesome as the “a dead cat is a coward’s weapon” page we never got. Is it sad these are the stories I want to read?

  30. To me, the coolest thing about DC and also what set their universe above Marvels was the history of the JSA and the legacy aspect of the various characters — especially the progression of the Wally West Flash and his, over a long period of time, going from sidekick to accepted “big 7” member. Wiping all of that away is ludicrous to me.

    Also, compressing everything that still “happened” to these characters into what is supposed to be a 5 year period is absurd and I can’t reconcile that in my head. I’m really disappointed with these decisions and I’d much rather they had just decided to tell some good stories with the amazing characters they have at their disposal utilizing all that’s come before.

  31. “It was cheap and lazy and just plain bad storytelling.”

    I wish more people would realize that this is about all Geoff Johns is capable of, other than “I’m going to bring back a dead character I like and give him a cooler haircut!”

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