John’s 20 Things Every Super-Hero Comic Collection Needs

Oct-14-08

You’ll find that my list, as opposed to Jason’s, tends to hit more specific issues than Jason’s did. It’s also, of course, informed by my personal preferences. There are plenty of important comics that I simply didn’t include because I’m trying to find the comics that people will enjoy reading, and will still show the comics medium at its best and show everything of which the medium is capable. Before I get started, I want to mention that there are four things on my list (and one thing on my list of “Honorable Mentions”) that are also on Jason’s list. To avoid repetition, I’m going to mention them now, but instead of including them below, I’m going to bump some of my “Honorable Mentions” up to my main list. It may be cheating, but there are so many cool things out there that I want the opportunity to list them all (and I still won’t have room)!

So, Jason and I agree on Starman, James Robinson’s series, a true wonder of comics. The best superhero series of the modern age, this series may be unique in that it ran for 80 issues, and was only ever written by Robinson. The plotting is dense and well planned; things in the first issues pay off in the final issues. The characters sound like real people, and they grow and change as the series progresses. This is what superhero comics should be, and honestly, you could read these issues, never read another comic again, and be happy.

We also agree on Keith Giffen and J.M. DeMatteis’ Justice League run, which showed that you could be funny and still make good comics. This was particularly groundbreaking, coming out in the late 80s, when Grim ‘N Gritty was the order of the day. We also both feel that Warren Ellis and Bryan Hitch’s Authority is worth checking out, for it’s ability to show superheroes as they might act in the real world, and for it’s groundbreaking “widescreen” storytelling. We believe that one of the first series to do that was Mark Gruenwald’s Squadron Supreme, which wasn’t as adult as Authority, but first threw out some of the ethical questions that superheroes must grapple with. Finally, we both direct your attention to Robert Kirkman’s Invincible, a fine example of the quality superheroes you can find if you wander outside of the Big Two.

What about my own picks? Read on….

1. Any comics from Alan Moore’s ABC line (except Promethea): I’m sure a lot of people think us crazy for listing so few Alan Moore comics on our lists. I’m a big fan of his work, and much of it can be recommended, but it’s been recommended elsewhere, and if you’re a fan of comics, you’re going to have read Watchmen, V for Vendetta, From Hell, Swamp Thing or any of his other titles. The ABC line is important because it gave Alan Moore the chance to do lighter, brighter (but no less interesting) fare. I would highly recommend Top 10, as it’s my favorite from this line, but Tomorrow Stories is also an excellent choice, as it highlights how differently Moore can write for different artists. Give one of comic’s greatest writers a chance to show you how well he can write any genre.

2. Any Sergio Aragones/Mark Evanier Collaboration: Jason mentioned their comic Groo in his last pick, and it is a great one. However, it’s not superheroes. On the plus side, these two have done superheroes, in specials where they Destroyed DC and Massacred Marvel. They also did an interesting series for DC called Fanboy, where the titular character became intimately involved with the comics he loved so much. They’re work together is funny, and more importantly smart, and even better, it often has a great message, which they communicate without beating you over the head.

3. Roger Stern’s “Under Siege” story in The Avengers: Being the huge Avengers (and Roger Stern) fan that he is, I was amazed that this didn’t make Jason’s list. These issues, which chronicle the Masters of Evil invading and occupying Avengers Mansion, are some great superhero comics. They may not be the modern inspiration that Starman is, but they clearly show that, in the world of superhero corporate comics, you can still do great stories. The follow up to these issues, in which the Avengers must go to fight the Gods of Olympus, are just as strong. I should mention that John Buscema’s art in all of these issues is superb and helps to make them the classics that they are.

4. Kurt Busiek’s and George Perez’s “Ultron Unleashed” story in The Avengers: Normally, I wouldn’t include two Avengers stories in a list like this. I also tried to find stories that showcased different aspects of the superhero genre. This story is, like “Under Siege”, just a really great superhero comic. However, it is so great, that I couldn’t choose between it and the one above. These issues pit an Avengers team consisting of the classics (Captain America, Iron Man and Thor) with Black Panther and the newcomer Firestar, as they battle an army of Ultrons to protect our world. The panel where the tired and battered heroes finally reach the main Ultron robot, hurt but not broken, is one of the most powerful superhero panels I’ve even seen.

5. Frank MIller’s Batman: Year One: I agree with Jason that Dark Knight Returns simply no longer holds up. However, I believe that Year One does, and it’s my pick for the best Frank Miller work ever. Somehow, in the space of four issues, Miller was able to distill Batman down into his very basics, giving us a fresh and believable tale of how one man could begin the campaign that would make him an icon. You could read this story and never read another Batman tale, and know everything important about the character.

6. Thunderbolts #1: Another Kurt Busiek story (this one pencilled by the always reliable Mark Bagley). If you read this comic in a vacuum, it’s inclusion on my list may make no sense. However, if you had read it when it was first published, the mystery may vanish. Today, it’s impossible, it seems, for comics to be published without fans knowing every detail of the issue; who will die, who will return from the dead, who will be unmasked. The Thunderbolts had been teased for a few months as a new team of heroes, and while some subtle hints had been dropped that there was more going on with them then was apparent, the reveal at the end of the first issue was amazing. It also led into an incredible run which took the superhero concept and turned it on its ear, examining villains trying to become heroes.

7. John Byrne’s She-Hulk: There are a lot of great comics that John Byrne has created, but like Alan Moore, if you’re a fan than you’ve already heard of his incredible work on Alpha Flight or Next Men or Fantastic Four. I  recommend his work on She-Hulk because it again showcases a well known creator doing something different. Byrne’s She-Hulk was again, a very amusing book, although Byrne went much farther over the line than any of the other amusing books on my list. She-Hulk regularly broke the Fourth Wall, chatting with her readers; villains took breaks between their scenes. It was glorious fun, and it is a shame Byrne’s time on the book was so truncated, as no subsequent writer could pull it off as effortlessly.

8. God Loves, Man Kills: If you want a superhero comic collection, there has to be an X-Men comic in it, right? Jason recommended the Claremont/Byrne issues, and they’re wonderful. However, this graphic novel is my favorite. Written by Chris Claremont, and drawn by Brent Anderson, it details the crusade of a religious zealot to stamp out mutants. Claremont is someone who I often criticize for his stylistic writing style, but they’re not in evidence here. Like Year One, you can read this comic, and know everything important about the X-Men.

9. Mark Waid’s Flash: Mark Waid wrote The Flash for years, sometimes alone and sometimes in partnership with Brian Augustyn. Their issues introduced Impulse, explained the Speed Force, and pitted Wally West against innumerable villains. However, that’s not why I chose these issues. I chose these issues because they are the best example of a superhero story that is, in reality, a love story. Sure, there were fights and plots and worlds to save during these issues, but the heart of these stories was the love between Wally West and Linda Park. Everything else was just background noise, easily overwhelmed by the love these two shared. While most heroes have love interests, I’ve rarely seen a romance as real as this one.

10. Ben Edlund’s The Tick: Jason mentioned this when he mentioned comics from other companies, but I singled this out and included it because it is demonstrably a superhero comic. It just happens to contain a man-eating cow and ninjas. It may seem like I keep coming back to funnier examples of superheroes, but this one is the most amusing I’ve ever read. Unlike the others, which mostly tried to ground their adventures in the reality of their comic book universes, the Tick isn’t grounded at all (he lives in a world where villains have chairs for heads). I recommend the original issues that Edlund wrote and drew himself; I laugh until I cry even after multiple re-readings.

11. The Batman Adventures: Comics heroes have visited different media since the radio shows based on Superman. Some of those visits have been good, others have been bad. When the animated Batman show appeared, it was so good, that it gave something back to the medium that birthed it’s hero: this series of comics, presenting some of the best Batman stories ever published. These stories, beautifully illustrated by Mike Parobeck, show how you can tell an excellent story by stripping out the extraneous (and unnecessary) and focus on the important. Some people found the series too plain, but those people missed the boat. They were elegant in their simplicity, and the well written and drawn stories were anything but child-like.

12. Walt Simonson’s Thor: It’s hard, I believe, to do mythology in comics and keep it interesting. It’s difficult to write powerful characters and make them relatable. It’s sometimes career suicide to try and infuse mythology into superhero comics. Yet Walt Simonson made it look so easy. I am still in awe, and these are some of the only Thor comics I have ever enjoyed.

13. Peter David and Todd Nauck’s Young Justice: I suppose anyone who’s read our blog for any length of time figured I’d be including this. Comics about teen heroes have been around for years and there have been some good ones, but for my money, none have been better than this one. First of all, Peter David stayed for the entire run, and Nauck only missed a few issues (often because he was pencilling Young Justice specials or larger issues of the title), so the entire series has a coherence that so many series lack. Furthermore, Peter David was able to keep the cast relatable, keep relationships changing in believable ways, and he was able to do both amusing and deathly serious issues deftly. For a series to change tone as often as this did and not seem schizophrenic is a commendable feat, and David handled it with finesse. And may I say, while some may see Nauck’s art as cartoony, that like Mike Parobeck, Nauck was able to tell a damn good story, stripping away the unnecessary clutter that infects other artist’s work. Nauck handled the serious issues as well as he did the funny ones.

14. Kurt Busiek’s Astro City: This will be my last Kurt Busiek comic, but I had to include it. Astro City uses superheroes as a backdrop to tell stories about people; some issues the heroes have the stage, but often, they’re simply extras, as the stories talk about the regular people surrounded by these gods among men. It’s one of the most human series I have ever read, and well worth your time. I would be remiss if I didn’t mention Brent Anderson, who always does such a nice job making sure the stories look good.

15. Jack Cole’s Plastic Man: Jason mentioned comics from the Golden Age, and I said only one spoke to me. That one is Jack Cole’s creation, which has never been used as well since his death. Yes, I enjoy Plastic Man in the modern DC Universe (and recommend Kyle Baker’s series), but Cole’s Plastic Man was so ahead of its time that it deserves special recognition. Even though Cole produced these stories in the 40s and 50s, they resonate with the themes of the modern age. Yes, they’re funny, but the characters have actual personalities (rare in the Golden Age) the humor feels fresh (which is odd, considering how old they are) and the drawings seem to burst off the page.

16. Damage Control: Marvel’s series of limited series about a company that cleans up after superhero fights is such a common sense idea that I can’t believe it wasn’t done sooner. Much like some issues of Astro City, the heroes are often just the backdrop, as we explore the lives of normal humans, inhabiting a world filled with those with power. Yes, it’s funny, but there’s real characters and plots here to balance that. It’s a wonderful look at the absurdities of the superhero genre, while managing to remain a part of it.

17. Peter David’s X-Factor: I think it’s important to mention this series, particularly the first time Peter David tackled these characters alongside artist Larry Stroman, because it made one thing very clear: there are no stupid characters, or if they are stupid, you can still make them work. David took a group consisting of Havok and Polaris and a bunch of (what were then considered) stupid or unworkable characters and made them work. Madrox is, without a doubt, his strongest achievement, and the self-titled limited series that David wrote for him is also worth recommending. If someone had told me in the mid-90s that I would now consider Madrox one of the most interesting characters in superherodom, I would have considered them crazy. David also made Quicksilver interesting, a character that had always been searching for a writer who could keep his obnoxious personality intact, while making him likable. Hey, he almost even made me like Wolfsbane, but I’m not sure anyone could do that.

18. Early issues of JSA Volume 1: Geoff Johns sometimes get knocked around by critics for his love of obscure DC characters and his tendency to cannibalize DC characters and continuity for his own use. However, his early JSA issues, beautifully illustrated by Steven Sadowski, achieve something that other books should try to emulate; he successfully sells the idea of superhero legacies (where names and/or powers are passed down through generations) and reimagines some Golden Age concepts (like Mr. Terrific) for the modern age. Most of the first series was great, and the current series would be better if it wasn’t stuck with some of the plotlines running through the DC Universe, but the earliest issues are certainly worth a look.

19. Amazing Spider-Man #400: It’s struck me that Jason and I have listed precious few comics of the big names in the industry, like Spider-Man or Superman. This comic is one that is often overlooked, as it came out during the Clone Saga, and it featured the death of a character that has since come back to life. However, if you read it as it was originally written, it’s an incredibly moving story of the death of Aunt May. You finally see the chemistry and bond between her and her nephew, and her death will make you cry. It’s a shame they brought her back, as she will never get as good a send-off as the one J.M. DeMatteis and Mark Bagley gave her here.

20. Archie Meets the Punisher: If I have to explain it to you, you’ll never understand.

Cheater. Next time I’m going first so that I can look more original with my picks. Jerk.

Yes, yes, we had a few similarities and, once you read my following comments, you’ll see we had even more in common before I pruned my list. I’m stunned that the Vision and Scarlet Witch maxiseries was not on your list. That being said, I find it interesting that you also excluded all of the so-called “must haves” from your list. I think it’s an example of the media bandwagoning on comics and not really knowing what’s of interest to the true fan.

And now, since you tore my list apart and then managed to somehow call out my fandom like a common street houligan, I’m going to return the favor…

1. Any comics from Alan Moore’s ABC line (except Promethea): I have no opinion on these, because I’ve never read them. To be quite honest, aside from Watchmen and League of Extraordinary Gentlemen (and an excellent Superman story), I just don’t get Alan Moore. His superhero writing doesn’t stand out to me. Sure, it may be more nuanced and intellectual, but there’s also less punching of faces which leads to a certain amount of boredom.

2. Any Sergio Aragones/Mark Evanier Collaboration: I forgot all about Fanboy, not that I think it’s essential by any stretch of the imagination. If we did a list of the Top Humor Comics, I could see Aragones and Evanier taking a spot or two. This one seems out of place on an essential superhero list.

3. Roger Stern’s “Under Siege” story in The Avengers: Yes, this one was obviously on my short list. I think that’s why I made the comment about needing to do a Top Storylines post. In retrospect, I probably should have added this. It’s my favorite Avengers arc and probably one of my favorite comic stories of all time. The Masters of Evil finally lived up to their dubious moniker.

4. Kurt Busiek’s and George Perez’s “Ultron Unleashed” story in The Avengers: Two Avengers stories? Hmm…you didn’t even mention that I didn’t have a single Hawkeye story on my list. Actually, I was going to include the first West Coast Avengers miniseries on my list.

5. Frank Miller’s Batman: Year One: I don’t really have a good reason for not including this one, except for the fact that most of the story has been portrayed on film and portions of the origin have been revamped and redacted so many times as to make my head spin. Miller weaves a solid yarn, but I prefer the grittiness of his Daredevil work.

6. Thunderbolts #1: Yes. Almost made my list too. The utter jaw-droppingness of the ending make this one of the best single issues ever printed. And I agree that it may have been the last gasp of “wait for it” timing in modern comics. I often complain about how the internet has taken the fun out of comics.

7. John Byrne’s She-Hulk: Never read it, as I can’t see myself spending money on a solo She-Hulk book. Although, i have heard great things about the humor and how Byrne broke the Fourth Wall (similar to Morrison’s Animal Man). I’m surprised Dan Slott’s She-Hulk didn’t make your list.

8. God Loves, Man Kills: Meh. This strikes me as another of those “classic” stories that just doesn’t hold up well with the passage of time.

9. Mark Waid’s Flash: This is another one that I was seriously considering. Mark Waid made Wally West a person first and a superhero second…which is something DC has had trouble doing for most of its history.

10. Ben Edlund’s The Tick: Agreed on all counts. I’m also glad you singled out the fact that the issues NOT written by Edlund just don’t match up. Was that a double negative?

11. The Batman Adventures: I briefly thought about this title, but then I realized that I have the DVD box sets on my shelf and I’d much rather watch the cartoon.

12. Walt Simonson’s Thor: When I sold off the majority of my Thor collection, these are the only issues that I kept. However, I think that just may be the nostalgic side of me. I honestly haven’t retained any info from this run. Is this the one with the frog?

13. Peter David and Todd Nauck’s Young Justice: As little as I care for the majority of DC’s pantheon, I care even less about its junior members. Whatever.

14. Kurt Busiek’s Astro City: Busiek is a great writer, I just prefer superhero books that are actually about superheroes, especially when the superheroes who do show up are just derivatives from the Big Two. I’d be more interested in throwing Marvels onto one of our lists. Even though I think it missed some marks, the fact that it tried to show the human side of an already highly established universe made more sense to me.

15. Jack Cole’s Plastic Man: Plastic Man has always been a peripheral character to me. Right after I posted my list, I thought about going back and throwing in Beck’s Captain Marvel work, but I don’t know enough about that or Plastic Man to make a sensible argument.

16. Damage Control: Definitely a consideration for me. LOVED the first series. The subsequent ones didn’t have the same “Ooh” factor for me. Taking a peek behind the scenes in a superhero-filled world, and its repercussions, was definitely a unique vision at the time.

17. Peter David’s X-Factor: I wanted to include an X-Factor run, but I just didn’t think they were iconic enough for a “best of” superhero collection list. There are so many X-titles and offshoots out there that I just basically ignored the mutant sub-genre completely. However, these were good stuff. And that Madrox miniseries is one of the highlights of the last few years.

18. Early issues of JSA Volume 1: Again, not sure. I appreciate Johns’s enthusiasm for obscure characters and legacy heroes, but a lot of the stuff he worked with was still mired down with DC’s baffling continuity. You really had to know your stuff to follow along with some of it.

19. Amazing Spider-Man #400: Seriously? Hell, I’d rather reread the What If? issue with Aunt May as a herald of Galactus. If you wanted to pick a good Spider-Man story, why not the final Kraven one?

20. Archie Meets the Punisher: Really? You couldn’t find a 20th entry with more relevance than this? I think you can definitely see some of our personalities in these picks. You seem to have gone for the intentionally humorous while I’ve tended towards the accidentally funny books. I love irony.

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Young Justice: Where has all the justice gone?

Apr-22-08

In the long and storied history of the “Meanwhile….Comics!” blog, we have only really dealt with Marvel matters. This is not because we are not fans of DC, or of other comics companies. Partly it’s been because Jason and I are much more conversant in Marvel history than we are in DC history. Partly it’s been because Marvel seems to have issues which we had more of a passion to discuss than anything in DC. And, at least for me, partly it was because DC comics has, in my eyes, become a violent, unhappy, soulless entity over the past few years, and trying to discuss any character they currently publish is likely to be painful. While I’m not particularly stoked about the direction of the Marvel Comics line, it has me doing cartwheels compared to the direction of DC Comics, which has me often feeling somewhat nauseous.

Many people would point to Brad Meltzer’s Identity Crisis as the tipping point where DC Comics began to move away from telling stories about spandex clad do-gooders, and began telling stories about psychologically scarred arrested adolescents living out some sort of power fantasies by beating the living snot out of each other. And rape. That became an important part of many of these stories. Those people who look to Identity Crisis as the starting point of the degradation of these great heroes are not entirely wrong, but there is an event for me that predates this 2004 miniseries by some time….the cancellation of Young Justice in 2003. That was the beginning of the end for my close relationship with DC Comics.

Young Justice began life in 1998, during one of DC’s Fifth Week Events called “Girlfrenzy”, in a one shot written by Todd DeZago entitled Young Justice: The Secret. The team at that time consisted of three of DC’s hottest young heroes, all proteges of an established DC A List character: Robin, partner of Batman; Superboy, inspired by Superman; and Impulse, nephew of The Flash. The three of them joined forces again in a two issue prestige format miniseries called Justice League: World without Grown-Ups, again written by Todd DeZago. Apparently these issues were successful enough to merit a series of their own, and very soon, Young Justice #1 debuted in September of 1998.

The creative team for the first issue, and almost every single issue thereafter, was writer Peter David and artist Todd Nauck. The three young heroes spent the first few issues as the only members of the team, save for a recently resurrected Red Tornado, who served as their “adult” supervisor. However, David quickly expanded the group by introducing some female members; the Secret, who had appeared in their first adventure; Wonder Girl, who had worked with Wonder Woman; and Arrowette, who had appeared earlier in the comic Impulse and acted as a female Green Arrow-type.

Many people attempt to pigeonhole Peter David as a comedy writer, and coupled with Todd Nauck’s artwork, which had a lighter, more cartoony feel, these people may have written Young Justiceoff as a silly book for kids. Nothing could have been further from the truth. Yes, Peter David can be quite amusing, but his humor is always in service to the story, and he can handle serious storylines with the best of writers. Alternating between lighter issues with those that handled very serious subject matter, David kept the series always enjoyable (and proved that adult topics could be handled with indulging in the sort of hysterical melodrama and violent power fantasies that now seem to characterize so much of DC Comics’ output). Todd Nauck’s artwork was likewise a joy, and while it may have seemed cartoony to some, he was able to handle drama and tension very well.

I could go on raving about the series, and may in follow up posts, but for now let’s move on to it’s tragic resolution. In 2003, Warner Brothers debuted a new cartoon series called Teen Titans, which was going to star the characters from DC’s long running comic series of the same name. Unfortunately, DC didn’t currently have a Teen Titans series, as most of those characters (and the niche that series filled in the DC Universe) was being filled by Young Justice. DC became convinced that they needed a Teen Titans comics series to match the new cartoon, so they cancelled Young Justice (whose sales did not warrant such a cancellation). They then published the execrable Titans/Young Justice: Graduation Day miniseries, which served as the launching point for the new Teen Titans and Outsiders series.

Unfortunately, rather than bringing Peter David and Todd Nauck over to the new Teen Titans series to continue their stellar work, DC decided to bring in Geoff Johns and Mike McKone. Now, I’m personally quite a big fan of both Johns and McKone, and gave the new series a try. Unfortunately, within a few issues they had already begun the task of dismantling the character development and relationships which had been cultivated in Young Justice, and by the third issue they had changed Impulse into Kid Flash, showing a complete misunderstanding of who Bart Allen really was. I left the series as a reader in disgust.

The purpose of our blog is not just to point our problems in continuity or in publishing, but to try and fix them. Sadly, I’m not sure if this is fixable. Besides trying to reunite David and Nauck on a book, the characters that were once a part of Young Justicehave been scattered since the end of the series. Both Superboy and Impulse are now dead and Secret has been depowered. Of course, this would all be a moot point anyway, as it does not seem that DC’s editorial policy would allow a series with the sort of sensibility that Young Justice possessed to be be published. I’d like to come up with something and I’m open to suggestions.

First of all, I agree that we need to dip into the DC end of the pool every now and then just to be fair. Unfortunately, just like you (and even though I owned a comic book store for a while) I don’t have the same deep knowledge of DC’s history. I can cover the Justice League, Flash and Green Arrow pretty well, but other than that I only know the names of characters and not much else.

That said, let me start my response to your post with the information I gleaned from last week’s New York Comic Con. During one of DC’s many panels, the question of collecting Young Justice into trades came up and was pretty quickly brushed aside by the higher-ups at DC Comics. So, I think that raises some questions that our website was designed to tackle. This might not be along the lines of “how can we fix it?”, but it does cover the ground of “what went wrong?”

You were obviously a dedicated reader of the title and my experience with it consists of seeing a few covers here and there. Therefore, I defer to you to explain the appeal to me a little more in depth. For instance, what were the circumstances that brought the group together? What villains did they face during the title’s run? What were the relationships that were built? How was the strength of the supporting cast?

I think by studying some of these points, we may be able to do a re-pitch of the series (or at least convince the editors that releasing the trades would be beneficial). I’m encouraged by the fact that the main series kept a consistent creative team, that usually helps with a book’s quality and direction. So let’s start there and see what builds.

What went wrong? With the title itself, I’d say precious little. Let’s start at the beginning. The original three members of Young Justice were Robin, Superboy and Impulse. Each of them had worked with the others once or twice, but the trio first worked as team to save a young girl called Secret from the D.E.O., who were keeping her under lock and key and trying to determine the extent of her powers. The boys managed to free her and found they worked well together. They next met when an ancient Atlantean force called Bedlam transported all the adults of the DC Universe to a parallel world. With only children and teens left, the three young men found themselves elevated to the status of senior heroes, and teamed to defeat Bedlam.

After this adventure, the three of them decided to stay together as a team. Why? Mostly because they simply needed the friendship and comraderie of being with other people their own age, who understood the pressures of being the next generation of a superhero legacy. Although they were a super-team, they were also friends; it was almost more of a club in those early days. Soon, Red Tornado, who had lain inactive in the old JLA Secret Sanctuary, awoke from his stasis, and he became the mentor for the group. It was inevitable that the group would not remain a “boys club” and sure enough, shortly after they formed their group, they became embroiled again with The Secret, as well as Wonder Girl and Arrowette. The girls joined the team, and the full roster of Young Justice was formed.

Again, the series was somewhat lighthearted, but there were also some very serious stories. One of their early villains was named Harm, a young man who seemed completely evil. His parents knew their son was a monster, but were afraid of him. While Young Justice battled Harm, the true meat of the story was the psychological battle within the mind of Harm’s father, who wrestled with the question of whether, if you knew your son was an evil person, totally devoid of merit, could you take the necessary steps to stop him?

Arrowette also had a fasincating story arc. Relatively early in the series’ run, one of her favorite teachers at school was killed by a jealous ex-boyfriend. Arrowette was enraged, and hunted down the killer. She soon had him at her mercy, and would have killed him if not for the intervention of Superboy. Later, after her emotions were calmer, Arrowette realized what she had done, and was scared to learn she was capable of murder. She vowed to give up being Arrowette, which she did. One would have thought that she would have either disappeared from the comic, or she would have eventually reclaimed her mantle. She did neither. She remained true to her vow, never donning the costume again, but still staying an important character in the further adventures of Young Justice.

Red Tornado, as the group’s mentor, could have been ignored. However, he was given some strong plots, as he tried to reclaim his humanity and make a life for himself with his estranged family. Eventually, he realized that his family needed him, and was more important to him than the team, so he resigned as their mentor. In his place, the group found a new mentor in Snapper Carr. Of course, Snapper has been knocking around the DC Universe for over four decades, but he often doesn’t seem to fit. Putting him in an adult role, mentoring kids who were experiencing some of the same things that he had experienced as a teenager, gave Peter David the chance to explore Snapper Carr’s personality in ways that it had not really been explored.

The interactions between the six main members of the team were also interesting. Robin acted as the leader, but was often challenged by Superboy and the developing relationship between the two of them, as Superboy came to respect Robin, despite Robin’s lack of powers, kept the team dynamics fresh. Wonder Girl began the series as an inexperienced and unsure heroine, but matured throughout the series’ run, eventually winning election as the new leader toward the end of the series. The mysteries surrounding Secret continued to be explored. Members became romantically involved (as teenagers do) and some new members joined the team, including the Ray, who finally found a place on a team with members closer to his own age.

In essence, it was a dynamic series, not taking itself too seriously, but willing to tackle adult subject matter when it was a natural outgrowth of the story being told. It never went for sensationalism, but instead contented itself to tell strong, solid stories that you could enjoy reading.

Okay, so from what I understand – and from a quick blast of Wikipedia knowledge – two of the team members are dead (Superboy, Impulse), one has decided not to be a hero anymore (Arrowette) and another is depowered (Secret). Not only that, but their initial mentor (Red Tornado) is possessed by Amazo while their later mentor Snapper Carr is working as some sort of spy for Checkmate. I have no idea how you could put this all back together again. And would it be worthwhile anyway? After all that these characters have been through, the innocence and youth is gone from them (as it is from 98% of the DC Universe).

From your description and from what I’ve been able to deduce online, the series sounded like an unofficial version of the original Teen Titans…formed out of a kinship based on being “sidekicks” or younger versions of their inspirations. Add in the world-weary mentor role and you could almost say it was a Fagin and the orphans scenario played out in comic style (without all the stealing and such).

There’s three trains of thought that I can come up with on this one. The first one is the most realistic: DC puts out collections of the 55 issues plus all the one-shots and miniseries, somewhere between 6-8 trades and it’s done. The second path is kind of a cop-out but ultimately makes sense with what’s going on in the DC Universe right now: make one of the 52 Earths a “World Without Grown-Ups” planet. This would give the team a chance to play out their adventures in a unique setting. They’d be THE heroes of the world yet would still embody all the insecurities and angst of their age and maturity level. Could be a fun way to play with all the toys in the sandbox. The third way is probably the most difficult: find new youthful characters in the DC-verse and bring them together logically to form a new Young Justice team. I don’t know which young heroes remain unblemished by the current goings-on at DC nor do I understand how they could be coaxed into befriending each other anymore, but that is one way to make the magic happen again.

There’s also the problem of who would handle the title? Peter David is exclusive to Marvel, as of February 2006. And the last I knew, Todd Nauck was at Marvel too, drawing Spider-Man. You and I both approve of the writing of Geoff Johns and his handling of superhero types, but I wonder if he’s too steeped in the current DC malaise to properly infuse this proposed title with the jolt of youth it needs.

While I may not have an immediate solution to the writing, I think Karl Kerschl would be an excellent choice for the art. His Teen Titans: Year One and All-Flash #1 work is both quirky and beautiful at the same time.

Writers and artists aside (though I think it’s interesting to discuss), which of the three solutions I offered do you think is best for Young Justice?

At this time, I’d just like to see them acknowledge that the team existed, and issue trades containing the entire series. I think it deserves that much. Let those of us who were fans of the series have the opportunity to enjoy it again, and perhaps they can draw in some new readers at the same time. I don’t see any point in trying to recapture the series with the same characters, as that would require so much continuity twisting that my head hurts just thinking about it. I also don’t see a point in putting them in another world in the multiverse. I’m not usually a fan of that sort of thing, since it never seems like the stories matter much when it’s not the mainstream universe that the rest of the comics line is based in. That being said, I’d like to choose both your first and third options. Let’s see them replace this group with something akin to Young Justice in tone. DC needs a book like that.

I realize that this post probably makes it seem like I am rabidly anti-DC and that’s honestly not true. While I admit that my early comic experiences were overwhelmingly of the Marvel variety (I found most of DC’s output in the early 80s to be rather dull and stodgy, while Marvel seemed cool and hip), I did soon begin to branch out to many other companies, DC among them. During the late 80s I came to like a lot of DC comics, and for some years during the 90s, I was reading more DC than I was Marvel, thanks to both a plethora of strong DC series, and Marvel taking a huge downswing in quality (teenage Tony Stark? Was that really necessary? A clone saga in Spider-Man that lasted for years? The Invisible Woman wearing a bikini top on her Fantastic Four outfit?). I have always loved the Justice League (thanks probably to the Superfriends cartoons of my childhood) and I think DC has some great characters and books. They also, as a company, understand the concept of a legacy much better than Marvel, and I love the way some identities (Flash, Green Lantern, Starman, Dr. Mid-Nite and others) have been handed down from hero to hero.

That being said, I’ve become quite disillusioned with DC over the past few years, and it’s not just because I’m not a huge fan of this dark turn they’ve taken. It should not come as news to anyone who follows comics that it isn’t the strongest business in the world. Many articles have been written on how one brings new readers into the fold. I don’t believe that most of DC’s current output, mired in continuity and dripping in death, dismemberment and rape, really reach out to a new audience. I think it plays to the same aging audience that has been reading the book for years, and it sure as hell isn’t going to draw in any children. Young Justice had the potential to appeal to a younger audience. Please note that it wasn’t written for a younger audience; Peter David wrote mature stories. However, his stories were accessible to people of any age, and I would argue they were appropriate for readers of all but the youngest ages (and truly, some of the sexual innuendo would have passed right over the heads of the really young anyway). Moreover, Nauck’s artwork was the sort of pleasant, happy artwork that would catch the eye of a younger reader, and he was such a strong storyteller, that no one would have trouble following the story. While we may not be able to use David and Nauck, surely we could find some creators who could do the job, and perhaps provide a safe haven for some younger readers (and older readers who don’t want to read about rape, death and decapitation on a monthly basis) in the DC Universe.

You mention Geoff Johns, and while I was very disappointed by his Teen Titans series, I do think he’s a very good writer. Moreover, he did a book with a similar theme in his very entertaining Stars and S.T.R.I.P.E. series, so I think he could handle it. Another writer who does a lot of work for DC and can handle anything she’s given is Gail Simone. She certainly has a lighter side, and her books always rise above the norm. A writer who I haven’t seen anything from for awhile, but who has an excellent eye for character is Devin Grayson. She worked on a previous Titans series and really did a nice job bringing the characters together and bouncing them off each other. As for artists, I’m somewhat familiar with Karl Kerschl’s stylized art, and while it’s taken me some time to adjust to it (you could take an eye out with his pointy knees and elbows), I think he would fit the style. I know he’s working for Marvel (and I’ve heard rumors he’s retiring), but I’d also recommend Mark Bagley, one of the strongest, most reliable, and perhaps most underrated pencillers around, who’s proved he’s good with teenagers in Ultimate Spider-Man. Sadly, Mike Weiringo would have been perfect; his death was such a loss to the comics community.

As for characters, I’m afraid I may not be as familiar with who would work as I once was either, and I’m also not sure who’s been spoken for other places. I think you could use Robin and Wonder Girl, and the Ray joined in later issues, and I believe he’s available. I also believe Empress, who joined in later issues is available, and perhaps they could use Supergirl. I also think it would be cool if they used Mia Deardon, the current Speedy. There’s six characters, and all of them except Empress have a heroic legacy to live up to. We’d just need a new mentor. Hmmmm…someone who hasn’t been used in awhile. How about Major Disaster? He’s tried to be a hero many times…when last seen he was an alcoholic, but if he got over that and acted more like he did as a leader of Justice League Antartica, he might fit in. There was also a group called Old Justice in the original series, comprised of sidekicks from previous decades, and included Doiby Dickles. He’d be perfect! He’d be more like a grandfather, but it could be an interesting direction; he’s certainly seen his fair share of odd stuff, and doesn’t seem fazed by anything. Do you have other suggestions?

The first character that came to mind for me was the new Blue Beetle, but I believe he’s tied up in the new Titans series somehow (again my lack of current DC lore comes to light). There’s also the newly rediscovered Traci Thirteen who’s started a relationship with Jaime Reyes (Blue Beetle)…her father could be a pretty wacky mentor too. Maybe Klarion the Witch Boy…wasn’t he briefly in Young Justice?

Regardless of membership, I’m still not convinced that a lighthearted, youthful team like this has a place in the current DC Universe. Perhaps it is best to just release some trades and let this one shuffle off the mortal comics coil.