Continuity Is The Devil: Flash Rebirth

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The excellent War Rocket Ajax podcast has undergone the ambitious task of ranking every comic book story ever over the last year. While this is partially tongue in cheek, completely subjective and totally dependent on the stories sent in by the listeners, it’s also enlightening to hear the hosts take on comic book canon. One of the criteria they take into consideration is the the title’s legacy, what influence did it have on comics in general and continuity for future stories. Continuity is a tricky thing, as we’ve alluded to in the past, Tom Breevort probably said it best as labeling it “a tool” that can be used to enhance a story and in a vacuum that’s great but unfortunately it often means much more than that. Continuity shouldn’t matter for the quality of a story, but because that story is going to affect continuity, it’s also going to effect future stories for better or worst. Moreover, fans have often demanded that DC or Marvel books be in-continuity in order for those stories to “matter” in the broader sense, which is stupid but also a reality of creating comics at DC or Marvel. It’s basically a dammed if you do, dammed if you don’t situation. Make it out of continuity and it doesn’t matter, make it in-continuity and you have to consider how this story will effect corporate comics for generations. And, yes, you can “make your own continuity,” but no matter what you think in your head, it’s not going to change the comics that are being published here in the real world that are based on past events in their respective character’s mythology. It’s going to affect your comics whether you like it or not, and while yes you can pretend it’s whatever you want it to be, that doesn’t stop the comics coming after it from being informed by its past. That’s the thing about Geoff Johns & Ethan Van Sciver’s Flash Rebirth. In and of itself, it’s fantastic, but the byproduct of the book takes away a lot of what made the modern age version of The Flash or DC Comics interesting and important. In the end, it’s net consequence of what the story did for future books far outweighs its own stories merits.

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YOUR WEEK’S FINEST – 2/25/15

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The world’s largest weekly comic book poll!

The NBC! team loves to pick the week’s best comic for “This Week’s Finest!“, and we want to give all members of the NBC! community the opportunity to voice their pick for the best comic of the week.  Below is a poll comprised of all the comics listed in the NBC! pull lists for this week – which one did you think was the best?

Please vote, and please let us know which comic you voted for – and why – in the comments.  The poll will close at 11:30 p.m. (Eastern Time) on Sunday, March 1, 2015, when we’ll announce the winner of YOUR WEEK’S FINEST!

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Flash Month’s Early Arrival

Flash Darwyn Cooke

Before the idea for Flash February or even Flash Appreciation Day was an inkling in the brain-trust of NothingButComics, DC had the idea to turn January into a variant month prominently showing the Scarlett Speedster. To help close out Flash February I thought it would be nice to look over some of the covers that struck me for one reason or another.

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This Week’s Finest: Criminal Special Edition

Criminal Special Edition One Shot
Sean Phillips

By Ed Brubaker & Sean Phillips

Here’s where I make a confession: despite all my love for the work of Ed Brubaker (both with and without Sean Phillips) I have never spent much time with their Criminal series. Several years ago, I did read a random issue. It wasn’t bad, yet, at the same time, it did not compel me to explore any further. Given how much I enjoyed their other collaborations (from Incognito to Fatale to the current Fade Out) this struck me as odd. I filed the title away as something that I should give another chance someday. And that’s how the situation remained. I would see the ads for Criminal trades in the back pages of their other books, and say “someday.” Well, that someday finally arrived today. This week Image released a Criminal one shot which proved an excellent glimpse down Brubaker and Phillips’ sequential mean streets.
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Fraction & DeConick Sign Deal With Universal For TV Adaptations

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Writers and married couple Matt Fraction & Kelly Sue DeConick of Sex Criminals, Captain Marvel, Hawkeye & Bitch Planet signed a two year deal with Universal for adaptations of their creator owned work onto television. The first project in development is Fraction & Chip Zdarsky’s Sex Criminals. More details at Deadline

Binge Reading: The Trade Off

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The age old question: What is the best way of media consumption? Is it the serial approach, such as a weekly TV show or a monthly comic? Or is it waiting for a large chunk of the media and exercising binge consumption, such as a complete season of a TV show or trade waiting a comic? Obviously both cases have their pros and cons that apply quite fluidly to television and comics. How do we solve this debate? It seems to just come down to personal preference. Netflix has attempted to solve the debate by providing the best of both worlds. A complete season of a television show all released at the same time. As the consumer this means you get to binge watch while also being completely up-to-date. Is the Netflix approach possible with comics? Could an ongoing series not only survive but prosper if it released full story arcs all at once? I think Netflix is onto something and Comixology might be the perfect platform to adopt their tactics.

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