Since the dawn of the Silver Age, legacy characters have been a staple of superhero fiction, and having a new character step into a well loved role can open up new opportunities for writers and artists to tell different kinds of stories. In The Replacements, we’ll look back at the notable and not-so-notable heroes and villains to assume some of the most iconic mantles in the superhero genre.
This week we're looking at just some of the people who have stepped up and carried the heavy burden that comes with being Batman, and how that mantle comes with a responsibility and a level of expectation that not everyone can live up to.
Since the dawn of the Silver Age, legacy characters have been a staple of superhero fiction, and having a new character step into a well loved roll can open up new opportunities for writers and artists to tell different kinds of stories. In The Replacements, we'll look back at the notable and not-so-notable heroes and villains to assume some of the most iconic mantles in the superhero genre.
Today we’re looking at the brave souls who heard the call and in one way or another attempted to fill Superman’s boots. Some — much like Superman himself — are lost souls from dying worlds, some are two-bit thugs and at least two of them are pretty much The Terminator.
A: I'm glad you asked! As a writer, long-term plotting has never really been one of my strong points --- I'm more a student of that Larry Hama "never more than three pages ahead" sort of school --- but as a reader, there's nothing I love more than seeing threads tie together after years of groundwork being laid. It's that Chris Claremont, Walt Simonson style of plotting where seemingly insignificant elements and offhand remarks can suddenly gain importance, and where the same imagery can weave itself in and out of the story to give everything a new meaning. And what Grant Morrison, Frank Quitely and Val Semeiks did in DC One Million and All-Star Superman is one of the best and most subtle examples of long-term plotting ever.
Well. Subtle by superhero comic standards, anyway. It still involves a time-traveling Superman who lives inside the sun.
DC's Convergence crossover is built around pitting cities pulled from different eras against each other in an ultimate battle to determine which continuity reigns supreme, and as you may already know just from reading that sentence, that can get a little confusing. With all the Gothams and Metropolises (Metropoli?) throwing their heroes against each other, we thought it might be useful to offer our readers a handy guide to telling Pre-Flashpoint from Post-Crisis with a series of Bottle City Travel Guides!
Today, we're heading to the distant future of 1998 for a look at the world that gave DC its greatest crossover event ever: DC One Million's 853rd Century!
Q: Why is DC One Million the best crossover ever? -- @SerialWordsmith
A: Whenever I'm asked about my favorite DC crossover, the one that I always go with is Invasion!, and I think there's a pretty good argument you can make. It's done in three oversized issues, so it's quick but still feels like an epic story since they're all 80-page giants, it has a great use of some often-neglected parts of DC's cosmic side, and there are pretty fantastic tie-ins from creators doing career-best work on books like Suicide Squad and Animal Man, and it really did add something interesting to the DC Universe.
Then someone mentions DC One Million and I realize that yeah, I'm wr-- I'm mista-- I'm misremembering things, because it's definitely the best. I mean, it's not just the best DC crossover, but it's probably the single best crossover in all of superhero comics.
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