Movie Review: Green Lantern – You Won’t Care That A Glowing Green Man Can Fly

I saw two movies this weekend. One was a smart, funny, science fiction story with likeable characters, believable (though incredible) situations, and entertaining drama. The other one was Green Lantern.

For those of you who don’t know the story of Green Lantern, here it is: An ancient race once gathered together to…blah blah blah…skip ahead a few thousand years, and now Ryan Reynolds has a green ring that allows him to create roller coasters out of thin air.

Let me clarify that last part: An actor with charisma and charm of Ryan Reynolds is put in the situation of being responsible for the most powerful weapon in the galaxy. Sounds like a great movie, right? He could spend most of the movie learning how to control this incredibly powerful device. He’d make some mistakes at the beginning, we’d see a lot of reaction shots from people being freaked out by the fact that there’s a GREEN MAN WHO CAN FLY AND SHOOT FIRE FROM HIS FINGER, he could learn some valuable yet subtle lessons about heroism, and then he beats the bad guy, who could turn out to be an ALIEN! WOW! In the last scene, we could see that not only do we have this great and AWESOME new hero that we love, but there’s a big reveal that there’s actually 2300 more of him and THEY LIVE IN OUTER SPACE! Holy Crap! I can’t wait for the sequel!!!

Sounds like a great premise right?

It is. It’s so good, they made a comic out of it. It’s called Green Lantern. Unfortunately, that’s not the story that Warner and director Martin Campbell chose to make here. The story they chose to make involves a smarmy spoiled dick doing his very best to not be surprised by any of the incredible things he’s seen, which include a cheesy alien planet that made Thor’s Asgard look like Brooklyn, and a hideous alien fear monster that can grunt semi-intelligent English. No, not Blake Lively.

There is so much wrong with this movie that I’m not really sure where to begin. Actually, I do.

The Script

I’m not saying it’s easy to write superhero movies. It’s not. But there is almost nothing in this script that is redeemable, from either a plot, or a dialogue sense, and I really don’t know how this movie got made.  The first mistake that the movie makes, and then repeats throughout, is that it forgets one of the cardinal rules of storytelling in a visual medium: You can show a character doing something, or feeling something. Or you can have the character tell us about what he’s doing or how he’s feeling. But when you have him do both at the same time it’s redundant. And insulting to your audience. Green Lantern is guilty of this on numerous occasions, and so we have Hal tell us he’s feeling bad about his father, and then we see images of his father. And then we have Blake Lively tell us that she’s sad, and then we see big crocodile tears of poison dripping down her cheeks. This movie is many things, but subtle ain’t one of them.

Another thing missing from the script is any real sense of wonder from its characters at the crazy stuff that’s going on. None of our characters seem especially surprised that these aliens are have expressed interest in them, and treat them with about the same level of interest as you would a moldy fridge. Remembering to write characters as being constantly amazed at cosmic events is something that’s easy to forget to write about in superhero comic books, as those kinds of things happen in comics all the time. But in superhero movies, especially in origin movies, keeping that sense of wonder is key to convincing the audience that they are seeing something amazing. Marvel’s recent Thor is a perfect example. There isn’t a second in that film where Natalie Portman’s character stops being absolutely flummoxed at the crazy stuff that’s happening around her. As the “everyman” , She’s our portal into the movie, and we share her surprise at every step. In GL, Ryan Reynolds is our “everyman”, but he travels to other planets, shoots laser beams from his hands, and encounters mutant telekinetics with about the same level of interest as you show when you go into a Wal-Mart you’ve never been in before.

The other problem is that by the time we see Reynolds in space, we’ve already beaten him there. Far too much of the exposition of the film takes place in the first 10 minutes of the film, before our hero even shows up. And so we learn everything about the movie way before our hero does, including what his ring is, where it comes from, and  who the villain of the story is. We should have learned the secrets of the film at the same time our hero did. If the real story here is that a human discovers a truly powerful space weapon, we shouldn’t  see the space weapon be used numerous times before he even stumbles across it.

The biggest issue I have with the script however, is its scope. I like ambition in filmmaking, but DC and Warner seemed to be SO convinced that they had money on their hands with Green Lantern that they seemed bound and determined to cram the plot and exposition of three movies, into one movie. Imagine if George Lucas had told us that Darth Vader was Luke’s father the first time Luke and Han stole aboard the Death Star. Or if Frodo and Gollum had battled for control of the One Ring in Mordor immediately after the Hobbits left the Shire? In storytelling, the journey is just as important (if not more so) as the destination. But GL is so crammed with “This is how we got here and this is where we’re going” that’s neither necessary or engaging, that we lose interest almost immediately.

The Acting

I’m not going to spend much time on this, as these poor saps didn’t have much to work with. Reynolds was passable as the hero. But while he’s a fine actor, he wasn’t nearly good enough to break free from the clunky script. I suppose that a stronger lead could have done something with this, but I doubt it. Peter Saarsgard’s Hector Hammond and Mark Strong’s Sinestro threaten to steal the show with some pretty decent performances, but again, the source material lets them down. But it’s not until we see Blake Lively hit the screen that we know what true pain is. While the other members of the cast struggle to break free from the lacklustre script, Lively seems to embrace it, and recites each clumsy line in a stilted…..emotionless….. monotone…..voice, that makes one wonder if she knew she was in a movie at all, or if she thought that she was reading off letters from a chart in an eye exam. Note to Warners: When casting your next major motion picture, maybe try auditioning real actors.

Bad movies get made all the time, so this shouldn’t be that big a deal. But it is, in that DC and Warner had a lot riding on this film. In fact, I don’t think it’s an overstatement to say that the future of DC as a successful, independent IP unit in the Warner family depended on the success or failure of Green Lantern. This was DC’s first movie where all of their ducks (marketing, comic book tie ins, toys, scripts, etc) were firmly influenced by the DC office, and this was their first opportunity to show that they could make stars out of lesser-known characters, the way that Marvel Studios has done with Iron Man or Thor. But instead they proved what we already knew; that they are incapable of making entertaining non-Nolan superhero movies. Which means your chances of seeing a Justice League or Flash movie, just got a lot smaller.

Rating: D-

The Great Comic Book Cull Of 2010/2011 – DC Comics: Green Lantern Corps, Hawkman, and Huntress

Green Lantern Corps - Recharge, To Be A Lantern, Dark Side Of Green, Sinestro Corps War, The Sinestro CorpsWar V. 1/2, Ring Quest, Sins Of The Star Sapphire, Emerald Eclipse, Blackest Night

No other industry screams “Blind Corporate Opportunism” like the comic book business, and DC has always proven itself to be a mighty bastion of greed.  So it should have come as a surprise to no one that DC would attempt to capitalize on Geoff Johns’ successful Green Lantern reboot by ordering up a new Green Lantern Corps mini- series. That was a success, and so DC then did a regular series, which continues to this day. None of this should have been a surprise. What was a surprise, was that it was good.

This is essentially a military soap opera, but instead of guns, the soldiers have little magic rings that help then fly in space. And they’re all aliens. Thankfully most of them aren’t the slimy kind of alien, but more the kind of alien you would see on Star Trek: The Next Generation, where they look pretty much human, but they have a ridge above their eyes, or a 3rd ear, or they have squid-like genitals that you never see (I’m looking at you Deanna Troi!). Although there are aliens that actually look like aliens (Robot aliens, planet shaped aliens, Bieber shaped aliens), you are not expected to care about most of them, therefore allowing you to keep your narrow view of the inherent specialness of humanity intact. Whew.

This series is a lot of fun., with a nice mixture of epic space battles and small human interest stories. While there are a LOT of characters to keep track of, the writers (initially Geoff Johns & Dave Gibbons, then Dave Gibbons by himself, and then Peter Tomasi) do a good job of focusing on small groups of Lanterns at a time. It’s pretty easy to understand what’s going on, and while the scope of the stories might be huge, the series never loses sight of its priority: Compelling characters first, crazy epic space wars second.

KEEP.

Hawkman

Hawkman. He looks angry because he's trying to figure out how to promounce "Nth".

A really long and boring history of Hawkman is in order: In the 1940’s, DC had a Hawkman character that was chairman of the Justice Society. He and his wife Hawkgirl, were reincarnations of old Egyptian pharaohs, and used “Nth” metal to fly. So far so good. Then in the 1960’s, DC brought back the characters, but now they were police officers from the planet Thanagar, who used “Nth” metal to fly. Ooookay. DC eventually “fixed” the problem by saying that one group of characters (the ones they created in the 1940’2) lived on Earth 2, and the new modern (well, modern for the early 1960’s), lived on Earth 1. Occasionally they would meet and braid each other’s hair.

This worked well until 1985, and the Crisis on Infinite Earths. Now there was only one earth, with one history. They figured out where most of the major characters fit into this, but they forgot about Hawkman. Big time.

They “relaunched” Hawkman with the Hawkworld series, essentially reinventing the origin of the Thanagar Hawkman. That’s fine, but the mistake they made was saying that this was a brand new story, and that this Hawkman didn’t arrive on Earth until after Crisis. But if they had him coming to Earth AFTER Crisis, then who was in the Justice Society in the 1940’s? Or later on in the Justice League? Who, I ask you? WHO?????

This is the kind of stuff that keeps geeks up at night.

Oh, and then he became a Hawk God. And then it got weird. The next few years suffered reboot after reboot, and eventually DC just pulled the plug until they could finally find someone who could fix this mess.

Enter Geoff Johns. Yes, the same Geoff Johns that fixed Green Lantern. In the pages of his much liked JSA run, Johns finally got all of the various reboots of Hawkman to jibe with each other, and while it may still have been a little messy, it was the best anyone could have expected, and now DC could finally go ahead with new Hawkman stories.

Hawkman - Hawkworld

Hawkworld helped make a royal mess out of Hawkman’s continuity, and it makes absolutely no sense if you try to figure out exactly when/where it fits into the regular DCU. However, as a stand alone series the first mini series is a pretty great science fiction drama. It’s the story of Katar Hol, a privileged young man who discovers just how corrupt and evil the society that he thinks of as a utopia really is. There’s no superhero stuff, and not that much action. What it is, is a great character piece. It’s the story of one man’s redemption, and in fact, a case could be made that writer Tim Truman shouldn’t have even bothered with making it a Hawkman story.

KEEP

HawkmanThe Geoff Johns trades (Endless Flight, Allies & Enemies, Rise Of The Golden Eagle, Wings Of Fury)

You might have guessed by now that I like Geoff Johns’ writing. I do, but it’s a qualified like. I can’t say that I think he’s the character master that Mark Waid is, or a builder of tension like Ed Brubaker is. What he is, though, is a storyteller in the best sense of the word, and probably the best plotter that DC has. Then why don’t I like this more?

It’s because Hawkman sucks. He looks cool, and has a badass mace. But as a character (or at least the new angry Hawkman that Geoff Johns brings us), he has no depth. About the only character trait that he is given is that he’s mad. At everything. That’s something, but unfortunately he lives on the same planet as Batman, and we all know that Batman will always be DC’s top asshole. It’s like being the second best basketball player on the same block that Michael Jordan lives in.

Johns seemed to be completely lost in regards to this character right from the beginning, and I think the problem is that the character probably requires a subtler touch than Johns usually demonstrates. He puts him in a great new city, but then never really explores it. Johns gives him a great new job, but then never really shows him doing it. Not to mention his horrible supporting cast, who seem to come and go at a moment’s notice with no real back story or character development. The only other character you see regularly in this book is the Kendra Saunders Hawkgirl, who is so unlikable she makes Lex Luthor look like a Chilean miner. There are some nice character moments later on the series in the Shayera Hol arc, but that’s about it.

The only saving grace here is some really nice pencils from Rags Morales, but even that wasn’t enough to save this one.

CULL.

Huntresss – Dark Knight’s Daughter

As originally conceived, Huntress was the daughter of Batman and Catwoman. Specifically the Batman and Catwoman of Earth 2 (I touched on the whole Earth 1/Earth 2 thing earlier, but I’m going to explain all of THAT mess in detail in a future post). She was created in the late ’70’s to add some much-needed youth to the recently revived Justice Society. I thought for sure that I’d be getting rid of this one, but I was surprised to find that I actually liked this better than I do the actual JSA book from this time period.

I get the impression that Paul Levitz was really stretching his wings with this one. Up till not long before this series came out, female characters in superhero books didn’t do much other than get tied up fairly regularly while they waited for the BIG STRONG MAN to save them. They also seemed to spend a lot of time doing something called “swooning” at any hint of danger. Until the Huntress came along. Levitz’ Huntress is beautiful, smart, successful, rich, and dresses up in a skin-tight purple leotard while she fights crime. So in short, the perfect ’70’s woman.

This trade holds up remarkably well, and is a lot better than most of the other DC stories that came out of this era. Special care must be made to mention the art of Joe Staton, that is a big part of the reason I’m keeping this trade.

KEEP

Next up: One more blog post filled with characters you don’t like – Hitman, Joker, and Jonah Hex! But coming up soon – THE JUSTICE LEAGUE!!!!! And the culling begins in earnest.

The Great Comic Book Cull Of 2010/2011 Part 11: DC Comics – Green Lantern

For those of you who aren’t familiar with DC, and their approach to storytelling, and how it differs from Marvel’s approach, let me explain: DC’s priority is always plot – i.e. Event X happens to Character B. Marvel’s priority is always characters – i.e. Character B copes with the events of Event X, and also how to pay the rent that month. There are positives and negatives to each approach. One of the big negatives to the DC approach is that you need a constant stream of MAJOR events in order to keep the wheels of the DCU turning. And since death is a fairly major event in someone’s life (right behind getting your first pony), it’s a well we see DC going to fairly often.

Enter Green Lantern, specifically Hal Jordan.

Green Lantern of Earth One vs. Green Lantern of Earth Two.

Now Hal wasn’t the first Green Lantern. That was Alan Scott, back in the 1940’s. But when DC started to focus on superhero comics again in the late 1950’s/early 1960’s, they realized that the Green Lantern concept was cool enough that it was worth bringing back. Although the Hal Jordan Green Lantern has always been well-known, and is identifiable as one of the DCU’s top heroes, he was never that important in regards to sales, and never really had what could be considered a successful book.

So in the mid ’90’s, DC decided to kill him.

Now that’s pretty bad in the great scheme of things, but DC went one step further. They made him evil. Like, planet killing evil.  He killed other Green Lanterns, some of the Guardians of OA, and he started the Zero Crisis, which is one of those universe-destroying events that DC has every 6 months or so. And I think he kicked a puppy somewhere in there too.

Evil Hal Jordan. It's ok though since he has a yellow parasite in his head telling him what to do. We don't know that yet.

A few things happened next: DC created a new Green Lantern, named Kyle Rayner. The problem is, EVERYONE hated Kyle Rayner. Everyone. Including his fictional mom  Also, DC was surprised to learn than not only did DC fans hate Kyle Rayner, but they actually liked Hal Jordan quite a bit, and while it was one thing to kill him, it’s quite another to actually turn him evil, flying in the face of 40 years of character continuity. And so the great DC back pedal began. We’ve seen the back pedal often. It’s when DC does something really dumb to one of their characters, and then spends years trying to fix the damage, eventually putting the character right back where they were at the beginning (for further info, see Superman, Death Of; Batman, Breaking of Back of, or anything to do with Hawkman, Aquaman, the Silver Age Wonder Woman, the Golden Age Wonder Woman, The Silver Age Flash, the Modern Age Flash, Stephanie Brown, Jason Todd, and pretty much every person that has ever appeared in a DC comic book. Ever. ) often with alternate realities, time travel, or usually some sort of cosmic reboot that is just lazy writing, goddamnit!

And so 2 years later, they brought Hal back from the dead, but he was really sorry. And so

Hal Jordan as the Spirit of Vengeance. He's a ghost that wears a mask. On purpose.

he died AGAIN, but actually saved the planet this time. And then they brought him back from the dead AGAIN, but now he was the Spectre, a character that is essentially the DC’s Spirit Of Vengeance. He’s an undead corpse that has unlimited magical power and goes around killing evil people for the Lord. So he’s essentially the DC version of Stephen Harper. 

Now you would think this would be enough for DC fans. But noooooo, they didn’t just want Hal back, they wanted him back as GL. And so 10 years after DC got rid of him the first time, they hired Geoff Johns (also known at DC by his other name, God) to fix the mess they created, and bring back Hal Jordan. And he did. In style.

Green Lantern - The Geoff Johns Trades (Rebirth, No Fear, Revenge of the Green Lanterns, Wanted – Hal Jordan, Sinestro Corps War, Secret Origin, Agent Orange, Rage Of The Red Lantern, Blackest Night)

First of all, let me tell you that I HATE Green Lantern. Hate the concept, hate the character, hate the T-Shirt, etc.. The character never did anything for me, and the mythology did even less. So as you can imagine, it was going to take a hell of a great comic book to make me care about the return of Hal Jordan. I’m here to tell you that Geoff John’s Green Lantern is quite often a hell of a great mainstream superhero comic book.

Geoff Johns has a knack. It’s a particular talent, and it has served him very well at DC. He fixes problems. Specifically, continuity problems. He has the gift of being able to fix whatever tangled mess of continuity damage a decade of DC hacks has done to a character. Not only does he fix it, but he even makes you think that the dumb stuff was actually good, and he makes it an integral part of the story he’s telling. And so he turned his magic scalpel to Hal Jordan. He brought him back, but he didn’t just bring him back, he brought back the entire Green Lantern mythology. Over the past 60 plus issues, he’s taken this utterly devalued D list character, and rebuilt him into the lynchpin of an incredibly complex, action packed space opera, that is arguably the only real interesting part of the DCU anymore.

The successes he has here are many: Explain the reason why the green rings are useless against yellow in a believable way? Check. Explain why a great hero would actually kill his former colleagues? Check. Have him punch out Batman? Check. Somehow turn a purple skinned alien with a receding hairline into one of the greatest villains in the DCU? Check. Bring back the Corps, the Guardians, the Zamorans, Nekron, and a host of other old GL concepts that just seemed really lame when you read about them as a kid and actually make them cool for once? Check.

That being said, this isn’t a perfect book, though it often comes close by mainstream superhero standards. Although a LOT happens to Hal Jordan every month, much of it just bounces off his back as he goes from adventure to adventure. I’d like to see the book slow down occasionally. Although a lot has happened to the character from an event standpoint, I can’t say that Johns has actually done much with the character emotionally. Any person that would have as much shit thrown at him as Jordan does would need some time to figure stuff out, to adapt, to change, etc.  

My other quibble is that the book is often a little too smart for its own good, and the overly complicated, continuity heavy scripts pretty much guarantee that any new reader would be lost immediately. Pretty much everything in this book is a huge, universe-killing epic crossover, and occasionally you wish that the series would take a bit of a break and a just have a story where GL rescues a kitten out of a tree.

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Green Lantern & Green Arrow – Vol. 1 & 2.

This is one of DC’s most famous storylines from the 1970’s, and it’s aged about as well as that purple couch that keeps showing up in all of your mom’s photo albums has. It’s 1972, and Green Lantern’s book is struggling. DC puts two of their hottest young talents on the case (Dennis O’Neil and Neal Adams), they change the name of the book to Green Lantern and Green Arrow, and so a legend is born.

The premise of the arc is that conservative galactic cop Hal Jordan, and liberal hippie Ollie Queen, are both disillusioned with the state of America. They decide to get in a pick-up truck, and take a millenia-old asexual blue alien with them on a road trip where they encounter racism, overpopulation, slavery, drug addiction, sexism, cults, and even excessive jaywalking and littering. At the end of the story they discover that a 9-year-old socialist muslim nazi from Kenya/Hawaii is to blame for everything bad that ever happened to anyone ever, and so they travel to 1984 to enlist Ronald Reagan to come back in time with them to kill the socialist vampire with freedom bullets.

The reason that people still talk about this story today isn’t that it’s that good, it’s that it was the first adult-issues story that DC ever had it’s characters take part in.  The problem here is that while these stories were absolutely cutting edge for the era they were created in, they just seem dated and preachy now. Although the issues they are trying to deal with are very much of the real world circa 1970, O’Neil still uses early 1960’s comic book language and narrative devices to deal with them, and the results are often clumsy and heavy-handed. That being said, this is still an incredible important storyline for numerous reason, one of them being the art by grandmaster Neal Adams. 

I’d love to see DC try to do a sequel to this, using modern-day issues and narrative devices, possibly with some new characters.

KEEP

Next Up: The Green Lantern Corps!

The Great Comic Book Cull Of 2010/2011 Part 9: DC Comics – Doctor 13 to Gotham Central

Doctor 13 - Architecture & Mortality

Doctor 13 is an old DC character from the 60’s that doesn’t make a lot of sense in a world full of superhumans, magicians, and god-like entities: He’s a skeptic. Now, I consider myself to be an amateur skeptic of sorts; in that the only way I would believe in people with super-powers, is if one of them flew down to my house and crapped on my new carpet. So you can see why I would identify with him. But how can you be a skeptic in a world full of magic? When the evidence of the existence of the paranormal slaps you in the face every single day? That’s what Brian Azzarello and Cliff Chiang try to answer here. This is honestly one of the weirdest things DC has published in recent memory, and I love it.

Brian Azzarello is usually known for his hardboiled crime fiction, but he turns in a fun, completely absurdist piece here that isn’t like anything he’s ever done. Cliff Chiang is one of the very few modern day pencillers whose work is strong enough to get me to buy a book just for the art, and he outdoes himself here. I will definitely say that this isn’t for everybody (a good friend of mine looked at a few pages of this book and said that it was the most ridiculous piece of comic book art he’s ever seen. And he likes Frank Miller), but if the idea of talking Nazi Gorillas teaming up with gay vampires and 30th Century plague carriers to convince Geoff Johns and Grant Morrison not to write them out of continuity sounds like your bag, give this a shot. It’s pure, absurdist comic book fun. Also should mention that this has one of the best last pages to a comic story that I can remember.

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Flash And Green Lantern - Brave And Bold.

Whew! Finally some characters you’ve heard of. These two are familiar to pretty much everybody, and for good reason. They’re 2 of DC’s ‘Big 5″ characters, although you wouldn’t know it by the way DC treats them sometimes. This is a flashback story, delving into the early friendship between Barry (the original Silver Age Flash, then was killed by the Anti-Monitor. Then Wally West who used to be Kid-Flash became Flash, and at first everyone hated him but then Mark Waid wrote him and people started to like him, but then for some reason they made Impulse  the new Flash. He’s actually Barry Allen’s grandson from the far future, but then he died, and now for some reason Barry Allen is back even though Wally West is a more interesting character but for some reason DC seems to think that the best way to deal with poor sales is just by rebooting everything back to 1975) Allen and Hal (was the original Silver Age Green Lantern, but then went evil and killed a lot of people and then he died, but then came back to life, and then died again. And then he became God’s Spirit Of Vengeance, which is an ok gig if you’re retired I guess, but then he came back to life yet again, and now he’s back to being Green Lantern again) Jordan. Yes.

This was nicely written. Mark Waid goes back into the Silver Age era he knows so well, but adds nuance and breadth to these characters that never really existed before now. In fact, a lot of what Waid did here set the groundwork for the inevitable resurrections of each character, and some of the characterization here can be found in both the current Flash & Green Lantern titles. Tom Peyer’s pencils work well with the story, and it’s overall a good read, though not essential. Please also note that despite my sizable DC collection, this is the ONLY trade I own with the Flash’s name in the title. I’ve never been a big fan of the character, though I will most likely give the rumoured omnibus of Geoff Johns run on the book a try when it comes out next year.

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Gotham Central  5 Trades (Half A Life, In The Line Of Duty, Dead Robin, Unresolved Targets, Quick and the Dead)

The commercial reaction to Gotham Central when it was on the stands sums up everything that I think is wrong with modern comic book fans: It’s extremely well-written, with complex characters and exciting action-packed scenarios. When it was being produced, it was regularly one of the most critically acclaimed series on the stands, and I can say without exaggeration that this is one of my favourite DC titles of the past decade. And nobody read it.

It’s an idea so simple you can’t believe it hasn’t been done before: What would it like to be a police officer in a world full of superheroes? I should also mention that it HAS been done before, notably with Brian Bendis and Mike Oeming’s brilliant Powers series. But this was the first time it had been done with heroes we know. What would it be like to work 6 months on a case and then have a 14-year-old in tight shorts come in and beat all of your suspects up in one night? Or to have a sociopath in a bat costume have more credibility with the citizens you’ve sworn to protect than you do? 

That’s what Gotham Central is about. It’s the story of Gotham City’s Major Crime Unit: A group of detectives hand-picked by Commissioner Gordon to take on the city’s worst problems. It was originally co-written by two of my favourite contemporary writers: Greg Rucka and Ed Brubaker. There were different artists, though Michael Lark was the initial and primary penciller on the book.

I consider this book to be a gateway drug. If you only read superhero comics, but want to get an accessible look at what else is out there, try this book. If you’ve never read superhero comics, but want to see what it’s all about without having your intelligence insulted, try this book. It’s like Law And Order, if L&O had occasional cameos by Batman, but was also not boring.. I’ll also say that I would consider Half A Life (the second major arc of the comic) to be one of the finest story arcs to ever be found in a DC comic book.  

KEEP.  

 Next up: Some characters YOU ACTUALLY HAVE HEARD OF!!!! GREEN ARROW! GREEN LANTERN! HAWKMAN! Well, 2 out of 3 ain’t bad. Oh, and the culling starts in earnest….