Joel Phillips
Feb 23, 2005, 02:16 pm
<img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/Top70DCMoments1.jpg" align=left border=0 alt="Top 70 DC Moments">Part 4: #10-1
Written By: Nick Costanzo, Raul Grau, Jon Hancock, Matt Lazorwitz & Jordan T. Maxwell
Edited By: Joel Phillips
Additional Graphical Assistance: Omar A. Safi, Jesse Baer & Al Harahap
What is a truly great MOMENT? Is it something that touches us? Something that shocks us? Something that changes the characters forever? Is it a milestone, a mega-event, or just one perfect panel?
We think it’s all of the above, and so much more. We think it’s famous firsts, lasting lasts, and the kinds of things nobody ever thought to do before. Time to stop beating around the bush, and give you the best of the best.
Just joining the party? Check out Part 1 (http://www.comixfan.com/xfan/forums/showthread.php?t=32210), Part 2 (http://www.comixfan.com/xfan/forums/showthread.php?t=32314) and Part 3 (http://www.comixfan.com/xfan/forums/showthread.php?t=32378). Otherwise let’s get back to the ComiX-Fan staff’s picks for the 70 Greatest Moments in DC History, here with picks #10-1:
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#10: Last Round for Robin
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/10.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/10t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Batman #428
Writer: Jim Starlin
Artist: Jim Aparo
This story represented one of the most highly publicized events ever to grace comics, as haters of the upstart Jason Todd clashed with those who were aghast at the thought of Robin getting killed (even though most of these people probably thought Robin was still Dick Grayson). In the end, it came down to a fan vote. After a vicious beating at the hands of the Joker, followed by a bomb quite literally detonated right on top of him, fans had the opportunity to call in and vote whether or not the poor boy got to live, and Jason was killed by a margin of just 72 votes. To add insult to injury, Tim Drake became the new Robin only a few issues later. Supporters of the move say it brought a level of realism to comics that was sorely needed... and that the little brat finally shut the hell up. Detractors, however, will claim the level of “gritty realism” bordered on ridiculousness. After all, in addition to the death, there were child porn rings being busted up and the Joker attempting to destroy the UN Security Council on nothing short of an Islamic Jihad. Still, Jason's death had long-lasting ramifications throughout the Bat-Universe, and remains one of the most well known comic stories of all time.
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#9: The New Fastest Man Alive Dawns a New Age
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/9.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/9t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Showcase #4
Writer: Robert Kanigher
Artist: Carmine Infantino
In 1956, the super hero looked to be going the way of the dodo. Comics were about war and crime, romance and cowboys. Dr. Wertham had done his work, and the few remaining heroes were tepid versions of their former splendor. But, out of the blue, came the new issue of DC’s sampler comic Showcase, and on the cover was a new hero in a bright red costume, one with a familiar name and powers and yet something totally fresh about him. Barry Allen was the Flash. There had been a Flash before, of course, but Jay Garrick was nowhere in sight… this was a new hero for a new time. Barry was the first hero to be produced successfully in years, and was the first hero of the Silver Age. This was to be an era of new heroism, some characters returning with new faces, some appearing entirely new. If not for the success of Barry, we might never have seen Hal Jordan or the Justice League of America. And he would race against time until the great Crisis, where his eventual demise would mark the end of the era he saw in. But there will always be that first impression, of Barry breaking through the pages to greet a brave new world, that will sparkle a little brighter because of who Barry was and would come to be.
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#8: The First Who Forever Inspires the Rest
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/8.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/8t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: All-Star Comics #3
Writer: Gardner Fox
Artists: E. E. Hibbard, Sheldon Moldoff, Bernard Baily, Sheldon Mayer, Chad Grothkopf, Howard Sherman, Ben Flinton, and Mart Nodell
Let's see if we can put this into the proper context for you... prior to 1940, superheroes just did not meet. Some were fortunate enough to have their own solo titles, most were relegated to eight-page stories in anthology series, but they all seemed content to remain in their own private little worlds. The 1940 issue of New York World's Fair Comics was revolutionary enough to feature heroes from two different strips on a single cover (the fact that those heroes were Superman and Batman makes it all the more remarkable). Then Marvel (well, Timely) proved to be an insane upstart, having two characters from separate features actually meet each other! However, if Sub-Mariner and Torch tearing up the town was breathtaking, then how does eight heroes (plus a few special visitors), bridging two companies, having dinner together strike you? The characters that we now lump together as part of the Golden Age of DC were actually owned by two separate and distinct publishers. The heroes of DC did include Spectre, Sandman, Dr. Fate, and Hour-Man, but All-American held their own with Green Lantern, Flash, Hawkman, and the Atom. All-Star Comics #3 ignored business labels to introduce the Justice Society of America- half-AA, half-DC, all original. This was a Society in every sense of the word - superheroes coming together, as equals, to deal with threats that one man (even a Superman) could not face alone. Even the freakishly popular Man of Steel and his Dark Knight Detective pal were counted amongst the roster. Though the rigid format followed by the first several years of All-Star prevented greater interaction between the membership, the Society is the first example of teamwork among the super set. Its legacy stretches to our present, from the All Winners to the All-Star Squadron, from the Justice League of America to the Guardians of the Galaxy, from the New Mutants to the New Warriors, every comic book team owes a debt of gratitude to the Society for inventing the idea. And to think it all began with polite dinner conversation between costumed comrades.
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#7: Speedy’s Addiction
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/7.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/7t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Green Lantern/Green Arrow (v1) #85
Writer: Denny O’Neil
Artist: Neal Adams
Green Arrow at times appeared to be the poor man’s Batman. Angsty vigilante who even went so far as to get an Arrowcar, Arrow Cave and a sidekick dressed in red and yellow. His sidekick Speedy did nothing special or memorable other than provide light relief to Arrow’s gruff, political stance. When Green Arrow decided to help his friend, Green Lantern, discover how detached from humanity he had become, he failed to realize how much his sidekick needed him too. Turning to heroin, Speedy became a mess, and in his hour of need Green Arrow still chose to abandon him. This moment is memorable for its cover as well as its impact. Drugs were one of comic’s taboo subjects, but Green Arrow as a politically motivated character presented the perfect opportunity to explore the problem of youth drug abuse. By having and beating his addiction, Speedy turned into a much more well-rounded and interesting character, and Green Arrow learned that having strong political ideals aren’t always good enough to protect the ones you love. But perhaps most important of all, comic readers and writers learned that you can address any subject through comics in a powerful and relevant manner.
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#6: Buddy Baker Meets His Maker
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/6.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/6t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Animal Man #25-26
Writer: Grant Morrison
Artist: Chas Truog
Buddy Baker’s family was dead. He had become much darker and more violent, willing to kill. The purpose of his life and existence were called into question, as was his understanding of reality itself. And so like a spandex clad Job shaking his fists at God, Animal Man set out on a quest that writer Grant Morrison had been building up to from almost the beginning…to meet writer Grant Morrison. But unlike God, admonishing Job for his doubts and refusing to reveal any cause for his suffering, Morrison is almost apologetic to Animal Man and reveals everything to him: comic book characters are real and will live far beyond their creators. Any number of crises and catastrophes can befall their world only to “be solved by some idiot in tights.” But they are subject to the whims of their writers and artists and the fickle tastes of the audience. They have no real free will to do as they please. Buddy cares about animals because Morrison does. He’s a vegetarian because Morrison is. There is nothing in him that doesn’t come from Morrison… except when he appears in Justice League under a different writer. In the end, Morrison laments that there isn’t something more poignant he can say to Buddy or the reader and sends him home, erasing his memories of their meeting and restoring his family to life with the comment, “Maybe, for once, we could try to be kind.” Morrison was able to dissolve the wall between himself as the writer and his character and discuss issues of the creative process, of the relationship between reality and fiction, of life, death, violence and so much more. And despite Morrison’s claims to not have space to say anything important, the issue has become a legendary and memorable milestone in the medium. It was mature and intellectual stories like these that helped pave the way and reveal the necessity for an imprint like Vertigo.
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#5: Superman Takes Off
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/5.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/5t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Action Comics #1
Writer: Jerry Siegel
Artist: Joe Shuster
It was a time of great turmoil for the world. The world was on the brink of war, the nation was still clawing its way out of the Depression, and heroes were in short supply. But then, in the first issue of a new comic book, came a man born of the pulp magazines that had inspired his two young creators. Sent to Earth when his planet died of old age, taken into an orphanage and with abilities far advanced from those of regular humanity, he was a vigilante who stood up against gangsters, wife beaters and corrupt politicians. There was no flight, no heat or X-ray vision. His powers were more like a kind of super athleticism. Strength, speed, invulnerability and the ability to jump very high and very far. His costume was the kind of exaggerated theatricality you'd expect to see on a professional wrestler. He was not yet the smiling Boy Scout he would evolve into, but he was a hero...a superhero, and he was the first of his kind. His name, if it hasn't become too obvious yet, was Superman. DC Comics and, indeed, the comic book industry itself would look incredibly different if it hadn't been for the creation of the new blue and red clad titan. There might not even have been a comic book industry. But Superman latched on to something real and primal in its audience. A wonder and awe at reading about such incredible feats. A newfound idealism at seeing a man fight back against the injustices of his time. Whatever sparked the imagination of the reader, Superman was a hit. The Golden Age of Comics had begun, and soon more superheroes would join Superman on the newsstands and the medium's popularity would continue to skyrocket... all thanks to two kids with a dream, and a new hero for a new world...
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#4: The Death of the Parents, The Birth of the Hero
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/4.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/4t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Detective Comics #33
Writer: Bill Finger
Artist: Bob Kane
The clatter of pearls on pavement. A scuffle. The crack of gunshots. The thud of bodies hitting pavement. Running footsteps. These are the sounds of the night that changed the life of young Bruce Wayne when he was eight. A night out at the movies to see The Mark of Zorro ended in tragedy as Thomas and Martha Wayne were shot by an unknown assailant, who remains at large to this day. This is one of the primal origin stories in comics. The loss of the Waynes is the inciting incident to Batman’s existence, for with the death of his parents Bruce Wayne died too, and something darker was born in his place. Even though elements have been added and removed by 60+ years of continuity, that moment has remained the same, a key piece of DCU lore. But more than that, and what makes it so important, is that it touches something deep inside everyone who reads it. Your imagination can fondly look at being the last survivor of a doomed world who finds good human parents, or being an Amazonian princess. But the death of parents, leaving a child alone in the world, is the greatest fear of children, and it is for that reason that it is still remembered and retold. No matter what version of Batman someone knows, even the campy 60s TV show, the fact that Bruce Wayne watched his parents die is the one constant. But for this night, Bruce Wayne might have been the man-about-town he pretends to be. But he is not, and he will forever be The Batman.
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#3: DC gets Dizzy
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/3.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/3t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>Before Crisis came along and rearranged the DC Universe as we knew it, a pebble was kicked off a cliff that would start an avalanche and alter the industry itself. With Alan Moore’s critical and commercial success on Swamp Thing, DC decided it would be a good idea to repeat the recipe: scout out acclaimed British talent, put them on second tier characters that not many people care about and give them total creative freedom. Neil Gaiman and Dave McKean were given a crack first at Black Orchid, and then at the far more successful Sandman, Grant Morrison took on Animal Man and Doom Patrol, while Peter Milligan gave us Shade the Changing Man. Hellblazer spun out of Swamp Thing, giving Moore’s popular John Constantine character a solo title written by Jamie Delano and later Garth Ennis. This stable of titles was more mature, darker, more cerebral. They provided an alternative to traditional superhero fare. And so, in 1993 under the helm of editor Karen Berger, DC formed the first mainstream imprint for mature reader titles: Vertigo. The name was apt as everything that was accepted as practice in the comics industry was turned topsy turvy. Writers and artists were given creative control of characters they did not own, new talent was tried out on top selling titles and soon enough, creators were allowed to do what they do best… create. Morrison’s creator owned tale of magic and anarchy, The Invisibles, opened the gates for more progressive creator owned titles such as Ennis’ Western-tinted Preacher; while Warren Ellis’ Transmetropolitan (which was adopted out of the failed sci-fi imprint, Helix) opened the line up from its roots in horror, fantasy and alternative superheroes to a multitude of genres. Pretty soon, even the Americans were getting in on the act, with Brian Azzarello’s crime noir epic 100 Bullets and Brian K. Vaughan’s dystopic drama Y the Last Man. Over a decade old now, Vertigo has provided an alternative for readers seeking diversity and quality, and for creators who don’t want to just do superheroes. It opened the door for more creative control and ownership at DC, changeed the face of the comic book industry, and paved the way for other imprints and publishers to do the same.
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#2: And Then There Was One
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/2.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/2t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Crisis on Infinite Earths #12
Writer: Marv Wolfman
Artist: George Perez
For a year, the heroes of the DC Universe had been fighting a battle like they had never fought before. The Anti-Monitor, a being of immense power and evil, had slowly been destroying all the infinite Earths that comprised the multi-verse. And, eventually, all the worlds were collapsed down into one. All the heroes of all worlds now lived there, as if it had always been that way. Heroes had died to reach this point, but things were not done yet, because the Anti-Monitor still wanted to destroy the one Earth. Even the might of the Spectre was not enough to stop him, just hold him back. And so the heroes of the Earth banded together to take the fight to the Anti-Monitor. Nearly every hero still alive attacked the most powerful threat they had ever faced. The battle was brutal, but in the end, a few heroes, remnants from the lost Earths, did what must have been done, stopped the Anti-Monitor, and headed away into other realms. The Crisis was the event that began what we consider the DC Universe today. If not for the Crisis and the unification of the Earths, most of the tales we have read for the past twenty-five years would never have happened. Long before Marvel ever thought of the word “Ultimate,” DC recreated its universe from the ground up. It cleaned up continuity as best it could, and gave a cleaner slate for new tales to be told. Long remembered friendships were no more, and new alliances were forged. And, as opposed to most crossovers that bill themselves this way, the DCU was truly never the same.
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#1: “I Did it Thirty-Five Minutes Ago”
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/1.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/1t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: The Watchmen #11-12
Writer: Alan Moore
Artist: Dave Gibbons
The world stands on the brink of nuclear war, and the collective population of the earth is preparing for the end. In a world where the only super-powered human appears to be counting rocks on Mars, there seems to be no hope for humanity. But Adrian Veidt, the world's smartest man, has the answer. He saves the world by releasing an alien beast that murders three million New Yorkers in the blink of an eye. His reasoning is simple: once humanity has a common threat other than itself, it will unite. And indeed he's right. Hostilities end immediately, and even though Veidt's beast dies along with all the other residents of New York, the fear of something like that happening again is enough to make the USA and USSR instant allies. Yet despite the good Veidt might have done, the horror and brutality of his actions hits the reader like a ton of bricks. These aren't faceless masses that Adrian has killed. In fact, half of The Watchmen has been seen through the eyes of the street news vendor and his customers, and to watch their lives snuffed out in one bloody instant is nothing short of heart breaking. Of course, there's also the fact that what Veidt has done is anything but conventional superheroics. In any other comic, Veidt would have been considered a villain, and his plan would never work. In The Watchmen, it not only works, but he is smart enough to put it into action well before any of the other “superheroes” can arrive to try and stop him. Perhaps even more shocking is that, when the fighting ends between Veidt and the rest of the world's superheroes, they agree with him. The only man who has a problem with any of this is Rorschach, a certifiable lunatic. So what does it say about the human race when we'll only stop killing each other once we start worrying about something else coming to kill us? Is such a peace, built on a lie, even stable? And the most challenging question of all... just how much would you be willing to blur the line between good and evil in the name of making the world a better place? I'm still not quite sure what to think when I look back upon the end of The Watchmen. It scares me a bit, but in a weird, disturbed, morally twisted way, it's almost comforting as well. Which is kinda the point.
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That’s it for the Top 70 DC Moments. Hope you enjoyed the list, and remember to keep watching ComiX-Fan all month long for more anniversary goodness! (http://www.comixfan.com/xfan/forums/showthread.php?t=32203)
Individual Entry Credits:
Nick Costanzo (1 & 10)
Raul Grau (8)
Jon Hancock (7)
Matt Lazorwitz (2, 4 & 9)
Jordan T. Maxwell (3, 5 & 6)
Written By: Nick Costanzo, Raul Grau, Jon Hancock, Matt Lazorwitz & Jordan T. Maxwell
Edited By: Joel Phillips
Additional Graphical Assistance: Omar A. Safi, Jesse Baer & Al Harahap
What is a truly great MOMENT? Is it something that touches us? Something that shocks us? Something that changes the characters forever? Is it a milestone, a mega-event, or just one perfect panel?
We think it’s all of the above, and so much more. We think it’s famous firsts, lasting lasts, and the kinds of things nobody ever thought to do before. Time to stop beating around the bush, and give you the best of the best.
Just joining the party? Check out Part 1 (http://www.comixfan.com/xfan/forums/showthread.php?t=32210), Part 2 (http://www.comixfan.com/xfan/forums/showthread.php?t=32314) and Part 3 (http://www.comixfan.com/xfan/forums/showthread.php?t=32378). Otherwise let’s get back to the ComiX-Fan staff’s picks for the 70 Greatest Moments in DC History, here with picks #10-1:
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#10: Last Round for Robin
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/10.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/10t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Batman #428
Writer: Jim Starlin
Artist: Jim Aparo
This story represented one of the most highly publicized events ever to grace comics, as haters of the upstart Jason Todd clashed with those who were aghast at the thought of Robin getting killed (even though most of these people probably thought Robin was still Dick Grayson). In the end, it came down to a fan vote. After a vicious beating at the hands of the Joker, followed by a bomb quite literally detonated right on top of him, fans had the opportunity to call in and vote whether or not the poor boy got to live, and Jason was killed by a margin of just 72 votes. To add insult to injury, Tim Drake became the new Robin only a few issues later. Supporters of the move say it brought a level of realism to comics that was sorely needed... and that the little brat finally shut the hell up. Detractors, however, will claim the level of “gritty realism” bordered on ridiculousness. After all, in addition to the death, there were child porn rings being busted up and the Joker attempting to destroy the UN Security Council on nothing short of an Islamic Jihad. Still, Jason's death had long-lasting ramifications throughout the Bat-Universe, and remains one of the most well known comic stories of all time.
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#9: The New Fastest Man Alive Dawns a New Age
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/9.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/9t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Showcase #4
Writer: Robert Kanigher
Artist: Carmine Infantino
In 1956, the super hero looked to be going the way of the dodo. Comics were about war and crime, romance and cowboys. Dr. Wertham had done his work, and the few remaining heroes were tepid versions of their former splendor. But, out of the blue, came the new issue of DC’s sampler comic Showcase, and on the cover was a new hero in a bright red costume, one with a familiar name and powers and yet something totally fresh about him. Barry Allen was the Flash. There had been a Flash before, of course, but Jay Garrick was nowhere in sight… this was a new hero for a new time. Barry was the first hero to be produced successfully in years, and was the first hero of the Silver Age. This was to be an era of new heroism, some characters returning with new faces, some appearing entirely new. If not for the success of Barry, we might never have seen Hal Jordan or the Justice League of America. And he would race against time until the great Crisis, where his eventual demise would mark the end of the era he saw in. But there will always be that first impression, of Barry breaking through the pages to greet a brave new world, that will sparkle a little brighter because of who Barry was and would come to be.
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#8: The First Who Forever Inspires the Rest
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/8.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/8t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: All-Star Comics #3
Writer: Gardner Fox
Artists: E. E. Hibbard, Sheldon Moldoff, Bernard Baily, Sheldon Mayer, Chad Grothkopf, Howard Sherman, Ben Flinton, and Mart Nodell
Let's see if we can put this into the proper context for you... prior to 1940, superheroes just did not meet. Some were fortunate enough to have their own solo titles, most were relegated to eight-page stories in anthology series, but they all seemed content to remain in their own private little worlds. The 1940 issue of New York World's Fair Comics was revolutionary enough to feature heroes from two different strips on a single cover (the fact that those heroes were Superman and Batman makes it all the more remarkable). Then Marvel (well, Timely) proved to be an insane upstart, having two characters from separate features actually meet each other! However, if Sub-Mariner and Torch tearing up the town was breathtaking, then how does eight heroes (plus a few special visitors), bridging two companies, having dinner together strike you? The characters that we now lump together as part of the Golden Age of DC were actually owned by two separate and distinct publishers. The heroes of DC did include Spectre, Sandman, Dr. Fate, and Hour-Man, but All-American held their own with Green Lantern, Flash, Hawkman, and the Atom. All-Star Comics #3 ignored business labels to introduce the Justice Society of America- half-AA, half-DC, all original. This was a Society in every sense of the word - superheroes coming together, as equals, to deal with threats that one man (even a Superman) could not face alone. Even the freakishly popular Man of Steel and his Dark Knight Detective pal were counted amongst the roster. Though the rigid format followed by the first several years of All-Star prevented greater interaction between the membership, the Society is the first example of teamwork among the super set. Its legacy stretches to our present, from the All Winners to the All-Star Squadron, from the Justice League of America to the Guardians of the Galaxy, from the New Mutants to the New Warriors, every comic book team owes a debt of gratitude to the Society for inventing the idea. And to think it all began with polite dinner conversation between costumed comrades.
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#7: Speedy’s Addiction
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/7.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/7t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Green Lantern/Green Arrow (v1) #85
Writer: Denny O’Neil
Artist: Neal Adams
Green Arrow at times appeared to be the poor man’s Batman. Angsty vigilante who even went so far as to get an Arrowcar, Arrow Cave and a sidekick dressed in red and yellow. His sidekick Speedy did nothing special or memorable other than provide light relief to Arrow’s gruff, political stance. When Green Arrow decided to help his friend, Green Lantern, discover how detached from humanity he had become, he failed to realize how much his sidekick needed him too. Turning to heroin, Speedy became a mess, and in his hour of need Green Arrow still chose to abandon him. This moment is memorable for its cover as well as its impact. Drugs were one of comic’s taboo subjects, but Green Arrow as a politically motivated character presented the perfect opportunity to explore the problem of youth drug abuse. By having and beating his addiction, Speedy turned into a much more well-rounded and interesting character, and Green Arrow learned that having strong political ideals aren’t always good enough to protect the ones you love. But perhaps most important of all, comic readers and writers learned that you can address any subject through comics in a powerful and relevant manner.
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#6: Buddy Baker Meets His Maker
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/6.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/6t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Animal Man #25-26
Writer: Grant Morrison
Artist: Chas Truog
Buddy Baker’s family was dead. He had become much darker and more violent, willing to kill. The purpose of his life and existence were called into question, as was his understanding of reality itself. And so like a spandex clad Job shaking his fists at God, Animal Man set out on a quest that writer Grant Morrison had been building up to from almost the beginning…to meet writer Grant Morrison. But unlike God, admonishing Job for his doubts and refusing to reveal any cause for his suffering, Morrison is almost apologetic to Animal Man and reveals everything to him: comic book characters are real and will live far beyond their creators. Any number of crises and catastrophes can befall their world only to “be solved by some idiot in tights.” But they are subject to the whims of their writers and artists and the fickle tastes of the audience. They have no real free will to do as they please. Buddy cares about animals because Morrison does. He’s a vegetarian because Morrison is. There is nothing in him that doesn’t come from Morrison… except when he appears in Justice League under a different writer. In the end, Morrison laments that there isn’t something more poignant he can say to Buddy or the reader and sends him home, erasing his memories of their meeting and restoring his family to life with the comment, “Maybe, for once, we could try to be kind.” Morrison was able to dissolve the wall between himself as the writer and his character and discuss issues of the creative process, of the relationship between reality and fiction, of life, death, violence and so much more. And despite Morrison’s claims to not have space to say anything important, the issue has become a legendary and memorable milestone in the medium. It was mature and intellectual stories like these that helped pave the way and reveal the necessity for an imprint like Vertigo.
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#5: Superman Takes Off
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/5.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/5t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Action Comics #1
Writer: Jerry Siegel
Artist: Joe Shuster
It was a time of great turmoil for the world. The world was on the brink of war, the nation was still clawing its way out of the Depression, and heroes were in short supply. But then, in the first issue of a new comic book, came a man born of the pulp magazines that had inspired his two young creators. Sent to Earth when his planet died of old age, taken into an orphanage and with abilities far advanced from those of regular humanity, he was a vigilante who stood up against gangsters, wife beaters and corrupt politicians. There was no flight, no heat or X-ray vision. His powers were more like a kind of super athleticism. Strength, speed, invulnerability and the ability to jump very high and very far. His costume was the kind of exaggerated theatricality you'd expect to see on a professional wrestler. He was not yet the smiling Boy Scout he would evolve into, but he was a hero...a superhero, and he was the first of his kind. His name, if it hasn't become too obvious yet, was Superman. DC Comics and, indeed, the comic book industry itself would look incredibly different if it hadn't been for the creation of the new blue and red clad titan. There might not even have been a comic book industry. But Superman latched on to something real and primal in its audience. A wonder and awe at reading about such incredible feats. A newfound idealism at seeing a man fight back against the injustices of his time. Whatever sparked the imagination of the reader, Superman was a hit. The Golden Age of Comics had begun, and soon more superheroes would join Superman on the newsstands and the medium's popularity would continue to skyrocket... all thanks to two kids with a dream, and a new hero for a new world...
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#4: The Death of the Parents, The Birth of the Hero
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/4.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/4t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Detective Comics #33
Writer: Bill Finger
Artist: Bob Kane
The clatter of pearls on pavement. A scuffle. The crack of gunshots. The thud of bodies hitting pavement. Running footsteps. These are the sounds of the night that changed the life of young Bruce Wayne when he was eight. A night out at the movies to see The Mark of Zorro ended in tragedy as Thomas and Martha Wayne were shot by an unknown assailant, who remains at large to this day. This is one of the primal origin stories in comics. The loss of the Waynes is the inciting incident to Batman’s existence, for with the death of his parents Bruce Wayne died too, and something darker was born in his place. Even though elements have been added and removed by 60+ years of continuity, that moment has remained the same, a key piece of DCU lore. But more than that, and what makes it so important, is that it touches something deep inside everyone who reads it. Your imagination can fondly look at being the last survivor of a doomed world who finds good human parents, or being an Amazonian princess. But the death of parents, leaving a child alone in the world, is the greatest fear of children, and it is for that reason that it is still remembered and retold. No matter what version of Batman someone knows, even the campy 60s TV show, the fact that Bruce Wayne watched his parents die is the one constant. But for this night, Bruce Wayne might have been the man-about-town he pretends to be. But he is not, and he will forever be The Batman.
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#3: DC gets Dizzy
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/3.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/3t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>Before Crisis came along and rearranged the DC Universe as we knew it, a pebble was kicked off a cliff that would start an avalanche and alter the industry itself. With Alan Moore’s critical and commercial success on Swamp Thing, DC decided it would be a good idea to repeat the recipe: scout out acclaimed British talent, put them on second tier characters that not many people care about and give them total creative freedom. Neil Gaiman and Dave McKean were given a crack first at Black Orchid, and then at the far more successful Sandman, Grant Morrison took on Animal Man and Doom Patrol, while Peter Milligan gave us Shade the Changing Man. Hellblazer spun out of Swamp Thing, giving Moore’s popular John Constantine character a solo title written by Jamie Delano and later Garth Ennis. This stable of titles was more mature, darker, more cerebral. They provided an alternative to traditional superhero fare. And so, in 1993 under the helm of editor Karen Berger, DC formed the first mainstream imprint for mature reader titles: Vertigo. The name was apt as everything that was accepted as practice in the comics industry was turned topsy turvy. Writers and artists were given creative control of characters they did not own, new talent was tried out on top selling titles and soon enough, creators were allowed to do what they do best… create. Morrison’s creator owned tale of magic and anarchy, The Invisibles, opened the gates for more progressive creator owned titles such as Ennis’ Western-tinted Preacher; while Warren Ellis’ Transmetropolitan (which was adopted out of the failed sci-fi imprint, Helix) opened the line up from its roots in horror, fantasy and alternative superheroes to a multitude of genres. Pretty soon, even the Americans were getting in on the act, with Brian Azzarello’s crime noir epic 100 Bullets and Brian K. Vaughan’s dystopic drama Y the Last Man. Over a decade old now, Vertigo has provided an alternative for readers seeking diversity and quality, and for creators who don’t want to just do superheroes. It opened the door for more creative control and ownership at DC, changeed the face of the comic book industry, and paved the way for other imprints and publishers to do the same.
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#2: And Then There Was One
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/2.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/2t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: Crisis on Infinite Earths #12
Writer: Marv Wolfman
Artist: George Perez
For a year, the heroes of the DC Universe had been fighting a battle like they had never fought before. The Anti-Monitor, a being of immense power and evil, had slowly been destroying all the infinite Earths that comprised the multi-verse. And, eventually, all the worlds were collapsed down into one. All the heroes of all worlds now lived there, as if it had always been that way. Heroes had died to reach this point, but things were not done yet, because the Anti-Monitor still wanted to destroy the one Earth. Even the might of the Spectre was not enough to stop him, just hold him back. And so the heroes of the Earth banded together to take the fight to the Anti-Monitor. Nearly every hero still alive attacked the most powerful threat they had ever faced. The battle was brutal, but in the end, a few heroes, remnants from the lost Earths, did what must have been done, stopped the Anti-Monitor, and headed away into other realms. The Crisis was the event that began what we consider the DC Universe today. If not for the Crisis and the unification of the Earths, most of the tales we have read for the past twenty-five years would never have happened. Long before Marvel ever thought of the word “Ultimate,” DC recreated its universe from the ground up. It cleaned up continuity as best it could, and gave a cleaner slate for new tales to be told. Long remembered friendships were no more, and new alliances were forged. And, as opposed to most crossovers that bill themselves this way, the DCU was truly never the same.
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#1: “I Did it Thirty-Five Minutes Ago”
<a href="http://www.comixfan.com/xfan/images/columns/top70dcmoments/1.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/columns/top70dcmoments/1t.jpg" align=left alt="Top 70 DC Moments" hspace="7"></a>As chronicled in: The Watchmen #11-12
Writer: Alan Moore
Artist: Dave Gibbons
The world stands on the brink of nuclear war, and the collective population of the earth is preparing for the end. In a world where the only super-powered human appears to be counting rocks on Mars, there seems to be no hope for humanity. But Adrian Veidt, the world's smartest man, has the answer. He saves the world by releasing an alien beast that murders three million New Yorkers in the blink of an eye. His reasoning is simple: once humanity has a common threat other than itself, it will unite. And indeed he's right. Hostilities end immediately, and even though Veidt's beast dies along with all the other residents of New York, the fear of something like that happening again is enough to make the USA and USSR instant allies. Yet despite the good Veidt might have done, the horror and brutality of his actions hits the reader like a ton of bricks. These aren't faceless masses that Adrian has killed. In fact, half of The Watchmen has been seen through the eyes of the street news vendor and his customers, and to watch their lives snuffed out in one bloody instant is nothing short of heart breaking. Of course, there's also the fact that what Veidt has done is anything but conventional superheroics. In any other comic, Veidt would have been considered a villain, and his plan would never work. In The Watchmen, it not only works, but he is smart enough to put it into action well before any of the other “superheroes” can arrive to try and stop him. Perhaps even more shocking is that, when the fighting ends between Veidt and the rest of the world's superheroes, they agree with him. The only man who has a problem with any of this is Rorschach, a certifiable lunatic. So what does it say about the human race when we'll only stop killing each other once we start worrying about something else coming to kill us? Is such a peace, built on a lie, even stable? And the most challenging question of all... just how much would you be willing to blur the line between good and evil in the name of making the world a better place? I'm still not quite sure what to think when I look back upon the end of The Watchmen. It scares me a bit, but in a weird, disturbed, morally twisted way, it's almost comforting as well. Which is kinda the point.
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That’s it for the Top 70 DC Moments. Hope you enjoyed the list, and remember to keep watching ComiX-Fan all month long for more anniversary goodness! (http://www.comixfan.com/xfan/forums/showthread.php?t=32203)
Individual Entry Credits:
Nick Costanzo (1 & 10)
Raul Grau (8)
Jon Hancock (7)
Matt Lazorwitz (2, 4 & 9)
Jordan T. Maxwell (3, 5 & 6)