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“It’s more than just a light… It’s a signal. A signal to Gotham that their secret hope for justice, for a better tomorrow, isn’t just a fantasy.
Now let’s just hope the right people see it.”
Renee says here that she was seventeen when Batman took up the cowl/the bat signal was first used. How old would that make her in Gotham Central?
I always forget how long Batman’s been under the cowl. I feel like it’s been at least ten years by Gotham Central, according to Jim Gordon’s timeline, which would make Renee twenty-seven by Gotham Central. However, in 52, her license says she was born in 1970.
I don’t think Batman had been under the cowl for sixteen years (as he would have had to have been for the timelines to match up at that point).
I know I’ve figured this out before and things didn’t line up, especially since Benny and Renee’s conversation also placed things differently… I wonder if this is just a weird continuity error? I wonder which Greg considers correct.
If Renee WAS born in 1970, it would mean she met Kate when she was 27 (“ten years ago” by Elegy timeline). Which isn’t correct, either…
And yes, this is the kind of shit I think about at 8:30AM.
That way madness lies. Timeline continuity isn’t anchored to real time. A driver’s license that says someone was born in 1970 is meaningless in a universe where the heroes are locked at certain ages, ie, Batman is 33. Age is relative. My suggestion? They’re as old as you want them to be.
Relatively speaking I’ve not been reading comics on a regular basis for very long. Just a couple of years. Yet this seems something that I read a lot of in the online community, that I have never understood. The concept that the timelines and character ages could make sense with all of the stories that have been told, is a thankless and ultimately impossible (not to mention pointless) task. Superman has existed for 75 years. Could all of the stories told in that time actually fit into a cohesive timeline? Bigger question: do they need to? Answer to both is no.
Posted on April 23, 2013 via The Dynamic Duo Deposit with 307 notes
Source: dynamic-duo-deposit
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Batwoman
(via i-am-the-goddamn-batman)
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Such an adorable dork.
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Me and my fiancée made these for her last night. Almost finished…
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I see what you did there.
Justice League Dark #7
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Easy now Mr Constantine.
Justice League Dark #7
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Green Lantern New Guardians #6 - The one with the talking cleavage.
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“Digital comic BEYOND THE FRINGE, based on the critically-acclaimed FOX TV show, will add a new roster of creators for upcoming issues 5a and 6a. Joining the book is seasoned writer Jhonen Vasquez, best known for his work on Nickelodeon’s Emmy and Annie Award winning show Invader Zim, and comics JOHNNY THE HOMICIDAL MANIAC and STRANGE TALES. Vasquez will be joined by award-winning artist Becky Cloonan (AMERICAN VIRGIN, NORTHLANDERS and DEMO VOLS 1,2).
BEYOND THE FRINGE alternates every two weeks between “A” and “B” storylines. “A” storylines explore events tied directly to the “Fringe” show canon, while “B” storylines take a “what-if” approach and look at how things might change if certain elements are out of balance.”
OK so that’s cool and all but A storylines are canon? Peter really is a superhero! LOL
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I made a spreadsheet of all my graphic novels
Very OCD I know, but I did notice some patterns. It basically reads like this:
Yadda yadda Scott Snyder, Scott Snyder, Scott Snyder, yadda yadda Alan Moore, Alan Moore, Alan Moore, yadda yadda Neil Gaiman, Neil Gaiman, Neil Gaiman, yadda yadda Lee Bermejo, Lee Bermejo…
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Right. When he’d been perfectly willing to do the story with the Charlton characters, where there’d have been no question that DC would own it lock stock and barrel, and DC asked him (and Dave) to change it up a bit, and granted them additional rights for it, Moore should have walked away.
He and Dave got a pretty good deal, particularly for a project they went into expecting it to be a standard WFH deal.
It didn’t work out exactly as either side expected, but that doesn’t mean DC’s been venomous and scorpion-like about it. After all, another aspect of it staying in print for decades is that it’s paid royalties for decades.
Alan would rather it go out of print than stay in DC’s hands, Dave seems to like the income just fine. So it goes.
But if we’re looking for examples of comics publishers being abusive to creators, there are much better ones — this is one where the deal worked out well for everyone by normal standards. Alan has somewhat different standards, to be sure. But that doesn’t make the normal standards somehow evil.
Kurt Busiek (comics writer - Astro City, Avengers, Marvels) on Alan Moore’s objections to Watchmen sequels or prequels, and Moore’s original deal with DC.
Fringe, Batman and other TV/comics.
