Image © DC Entertainment. Written by Robert Venditti, art by Patrick Zircher, colors by Jason Wright, letters by Dave Sharpe.
The crossover with Superman seemed to be pitting them against the giant-headed villain Hector Hammond, but as we see in this issue, he’s actually in need of help from them instead, after being attacked by aliens who take over his mental abilities. They create the illusion of a perfect family life for Hal Jordan here on Earth, one that he finds comforting. Superman seems to have been played in a similar way, though we don’t get to see it. A fun combination of the two powerful heroes with a wistful coda for Hal before he’s summoned to the next interplanetary emergency.
Image © DC Entertainment. Written by Sam Humphries, art by Ronan Cliquet, colors by Hi-Fi, letters by Dave Sharpe.
Simon and Jessica have been sent ten billion years into the past, where they are facing off against Volthoom, the First Lantern, and his ring of every color in the emotional spectrum. Beside them are the first seven members of the Green Lantern Corps, but even with all their willpower and teamwork, Volthoom is proving tough to subdue. He wants to go back to his home planet even further in the past, but the rainbow powers of his ring are driving him mad, and making him an extremely dangerous foe. When the Guardians show up, things get even more interesting. And back in our time, in the Vault of Shadows, Rami the rogue Guardian has an emotional reunion with the last of the original seven Green Lanterns.
I’ve really enjoyed this storyline incorporating elements of early GL history, much of it new to me, and this final issue of it is excellent. Recommended.
We continued our yearly tradition of coloring Easter eggs at Ellen’s sister Ann’s on Friday, though we had less time for it than most years because of other family activities. Here are the results. The dyers are Ann Greene, Dave Greene, Tim W., Ellen Klein, Ina Van Vooren and myself. There were about two dozen hard-boiled eggs, and we each did three or four. We usually do judging in various categories. This year we sent photos to Zack Greene in Savannah, and he did the judging, but unfortunately I don’t have those results handy, or an exact record of who did which eggs. I do know that Tim’s three eggs all won awards, and others were won by Dave, Ann, Ina and Ellen. I did not win any this year, which is certainly okay. Continue reading
Image © DC Entertainment. Written by Joshua Williamson, art by Christian Duce, colors by Ivan Plascencia, letters by Steve Wands.
Barry Allen has teamed with young Wally West when in action as The Flash, having found that Wally’s speed force powers help to control his own new negative speed force powers, allowing the two of them to fight crime effectively together. When not in costume, things are awkward, as Barry and Iris West have split and are not speaking. Meanwhile, Barry has to report to the maximum security prison in Central City harbor, Iron Heights, where he and his crime lab partner Kristen have been assigned to work. Kristen feels she’s been sent there unfairly, and is not happy with Barry either. Inside the prison are many of the costumed criminals The Flash put there, making his position all the more precarious. Once in the prison, Warden Wolfe makes it clear he has little time for the crime lab staff, and little interest in their concerns about the harsh way he is running the prison. Outside of Central City, a mysterious new crime lord has been encroaching on the territory of existing crime lord Copperhead, and she’s trying to find him by torturing one of the rival’s men with her venemous snakes. On the final page we have the return of another speedster not seen for a while.
The change of scene and company for Barry Allen makes for interesting reading. Recommended.
This and all images © DC Entertainment.
In 1990 Disney pulled their comics license from Arizona publisher Gladstone Comics and began creating comics using their characters such as Donald Duck and Mickey Mouse themselves for the first time in their history. In 1991 I received a call from comics editor Art Young, who I had worked with at DC on their pre-Vertigo titles such as SWAMP THING. Art had been hired by Disney to put together a line of mature-reader titles similar to what he’d worked on at DC, and he wanted me to design some logos for him, which I was happy to do. First I designed a logo for the overall line, Touchmark, which I’ve written about HERE.
Then I designed logos for the three initial Touchmark titles. After a year or so, Disney pulled the plug on the project, probably because they saw it didn’t fit well with the rest of their output, comics and otherwise. In 1993, Art Young brought the projects to DC, who published them in the now-active Vertigo line. Two, ENIGMA and SEBASTIAN O used the logos I’d already designed. The third, MERCY, used a new typeset logo. This post shows the logo designs I did for the project, the first two are above. I felt the story by J.M. DeMatteis and Paul Johnson would look good with a calligraphic logo style, and that’s where I started. Continue reading