"Worlds In Limbo" (25 pages)
Crisis #2-9 on the DC Comics App store
posted Sep 26, 2010 1:55 PM by vu sleeper [ updated Sep 26, 2010 2:13 PM ]
The DC Comics application from iTunes finally has CRISIS #2-9 on their
store. Not really sure why aren't all twelve issues in the store, but
we'll take what we can get.
Unfortunately each issue is $1.99, but on the bright side double issue
like #7 is the same price. At that price, go ahead and buy the trade
papebacker ($24) and scanning in your own comic. If time is valuable
and/or you want better scanned quality, then pluck down $15.92 for
eight issues (the first issue is free).
Remember, you still have to wait for issues #10-12 to make it in the store.
Free digital Crisis #1 and Infinite Crisis #1
Sep 12, 2010 7:35 PM
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Jul 25, 2010 10:13 AM
Wonder Woman #600 free 10-page preview
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21 artists who changed mainstream comics
posted Jul 20, 2009 3:52 AM by vu sleeper
Reinventing the pencil: 21 artists who changed mainstream comics (for better or worse)
by Sam Adams, Noel Murray, Keith Phipps, Leonard Pierce July 20, 2009
3. George Pérez
The 1980s ushered in a new Golden Age of
superhero comics, and no one did more to define their look and style
than George Pérez. After a wobbly start (his early work bore a
too-obvious debt to Jack Kirby), he fully came into his own when he became the regular artist for Marvel’s The Avengers
. An industry star at 26, he accepted an offer from DC to work with Marv Wolfman on The New Teen Titans
, and from there, they paired for the first big “event” comic, Crisis On Infinite Earths
In these two books, the elements that made Pérez such a fan favorite
became clearest to the eye: His was a vivid world, with detailed
costume work, glittering metal, elaborate technology, and dynamic
musculature—but with the rough edges of his idol Kirby polished into
ultra-clean lines, fresh and colorful surroundings, and a penchant for
group shots. He had his flaws—in particular, the tendency to draw
everyone with the same face, as Crisis
#5 shows. He was so
technically flawless as to seem somewhat soulless. But Pérez did more
than anyone to formalize what modern superheroes were “supposed” to
I was surprised to find that Storyteller is #4 on today's "Best Sellers" list from dynamicforces.com, especially since Bret confirmed that they are not at print yet.
GEORGE PEREZ - STORYTELLER: THE FIRST 30 YEARS HC
#4 BEST SELLER
(27 Sep 2006)
In the meantime, I suggest those that's already pre-paid for the book to ask for their money back if you haven't already.
I have personally had problems with certain vaporware books that I will not buy until I actually see it in print.
The best solution is to wait until this website announced when it is available to buy.
Looking around DF's website, I stumbled upon this
excerpt from the book:
"No one else could have done what George did," Wolfman exclaims.
"His basic storytelling was so superior to anyone’s at the time... no
one else could have come close to doing what he did."
were relatively few places within the issues for Perez to, as Wolfman
says, "do what George does best, which is draw big pictures of
incredible stuff," the artist brought his "wow-able" abilities to bear
on Crisis’ covers.
Based on a
request from Perez’s wife, who felt her husband was pushing himself too
hard on the series, Wolfman suggested his artist draw a simple cover
for Crisis’ fifth issue, an uncomplicated image featuring only three
faces and two merging Earths.
Perez submitted did contain two merging Earths—along with 96 faces.
Once the artist got started, he simply couldn’t stop drawing; if he saw
sufficient open space, he added another character’s head. He was having
too much fun to stop.
Geoff Johns D-I-Y [Do It Yourself] Q&A: Part Two, Page 2
10-11-2005 05:28 PM
Q: Crisis #5 is almost solely
responsible for hooking me on comic books at the age of 10. While I
love the series I see some things I'd change with my now grown up 20-20
GJ: Marv and George deserve all the accolades they get.
Q: Will Infinite Crisis involve DC
icons that don't have super cosmic abilities (i.e. Batman, Aquaman,
Hawkman) more than their limited involvement in the original Crisis?
GJ: It’s funny, Phil and I were talking
about how little Batman is in the first Crisis. Wonder Woman is barely
in it too. So, yes, there will be a lot more focus on some of the less
comic ability characters. Batman’s all over this.
From COMICS BUYER'S GUIDE #1565 (14 Dec 2003)
| November 3, 2003 | CBG's Retroview: Crisis
RETROVIEW: CRISIS ON INFINITE EARTHS
written by Jim Johnson
published in COMICS BUYER'S GUIDE #1565 (14 Dec 2003)
DC editors bestowed four-color godhood
upon Marv Wolfman, when they OK'd his proposal to revamp the company's
incomprehensible 50-year history in the early 1980s. and, like an angry
deity come judgment day, Wolfman waved his hand and wiped countless
redundant universes from existence, making the DC universe a more
accessible place for new readers.
Of course, fandom would have settled for
no one other than George Pérez to illustrate such an epic, and Pérez
superceded all expectations by turning in one of the finest efforts of
Wolfman wastes no time getting started,
beginning the culling of the multiverse on the second page. With the
ironically heroic demise of Earth-3's Crime Syndicate immediately
thereafter, Wolfman also kicks off the first of many emotionally
intense and beautifully constructed death sequences.
It's a bit unfortunate that the
remainder of the issue is little more than exposition for the rest of
the series, but riding along while various heroes and villains from
different Earths and eras are brought together is, nonetheless, a
It's another fairly slow issue,
action-wise. But that's barely noticed amid the excitement generated
from the intermingling of such characters from different Earths and
time periods as Kamandi and Earth-2's Superman, for example.
Amazingly, among the dozen of characters
utilized (so far), Wolfman still manages to squeeze in panel time for
individual characters, like The Flash and Psycho Pirate, who eventually
play important roles. And, as if that weren't enough, he jams a few
intriguing plot developments into an already-packed issue. Astonishing.
It would be easy to criticize the fact
that all Wolfman does here is fill another issue with unlikely, ragtag
alliances plopped into random time periods.
Except it's just too doggone cool not to like, and this is what we all paid 75¢ to see, after all.
This is fun, plain and simple. But it's
obviously none are having as much fun as Wolfman and Pérez themselves,
who are making the most of the limited playtime allotted to them In
comicdom's biggest sandbox.
Not to worry. It is a 12-issue series, remember?
Recognizing the need for a breather, Wolfman shifts from the
razzle-dazzle of the previous issue's mix'n'match team-ups to the
relatively quiet introduction of new characters. Although neither the
new Doctor Light nor Lady Quark made any kind of long-term impression on
the DC universe, their importance to this story helped keep it from
becoming nothing more than a year-long slugfest. Not that there would
have been anything wrong with that, of course…
No longer content with just sampling characters from the DC universe,
Wolfman brings aboard just about every significant player of the day and
manages to cram them all into one scene, no less. Hundreds of worlds
have been destroyed, and the focus now narrows to a mere handful of
dimensions and paltry few hundred characters.
The villain behind the Crisis is finally revealed, and he also calls
himself the Monitor; fancy that. Future references wisely referred to
him as - what else? The Anti-Monitor.
Who says all the action has to belong to the "main" earths? Wolfman
turns the wow-factor up yet another notch by bringing the former
Charlton, Fawcett, and Quality heroes into the conflict.
As with all renovations, half the work is cleaning house first. With this issue, Wolfman has done just that.
It's been a multiversal rollercoaster ride so far, and, with the
surviving worlds and heroes now gathered, it's clear that the best is
yet to come. And it does.
CRISIS ON INFINITE EARTHS #7 (Oct 1985)
The grandest and most heart-wrenching issue so far. Having helplessly
watched countless worlds die, the heroes finally get to go on the
offensive in the most epic and grandiose battle yet. If Pérez'
instantly classic cover didn't foreshadow the outcome, world of mouth
among fandom certainly did. But, for all its lack of surprise, Kara's
death has no less an emotional impact.
Speaking of the cover, Pérez took some heat for a rather, er, uncanny similarity to John Byrne's Uncanny X-Men #136 cover from five years earlier.
A month prior, no one would have thought Wolfman could top Supergirl's
heroic death, but with this issue he does just that. Only this time, it
is one of the DC universe's founding fathers who bravely gives his life
for that very same universe.
And, seniority notwithstanding, his death is all the more tragic because
he dies alone, not among his allies, as Kara did, and therefore, his
sacrifice goes unknown, at least initially. To this day, this remains
probably one of the best written death scenes in comics.
With the surviving worlds momentarily out of danger, Wolfman takes a
break from bumping off major characters and focuses on many of the
previously neglected super-villains of the DC universe. Actually, it's
not so much a break as it is a detour, for this villainous coup has
nothing to do with the events of past issues; it's just about bad guys
doing what that guy thing.
But one has to forgive Wolfman for his fanboyish diversionary
indulgence, because, well, it's a really, really fun issue to read.
Oddly enough, Wolfman aborts the villain's multi-world takeover as
unexpectedly as it began, and it's mildly disappointing, because it's
suddenly truncated rather than truly resolved. This would have been a
neat idea to revisit, were the entire multiverse not seemingly destroyed
at the end of this issue.
In fact, that destruction was originally intended to be the end of the
series, leaving the DC universe wide open for future revamps, but
Wolfman was ultimately given two more issues to give this series a true
conclusion and tie up the many loose ends in more fitting fashion.
As Doc Brown would say, one has to think fourth-dimensionally to understand what's just happened.
Or one could just pay close attention to Wolfman's explanation, which
actually makes sense, considering that hundreds of universe have been
retroactively wiped from existence.
Which is different from being destroyed, according to Wolfman. When
criticized for writing the deaths of hundreds of billions, Marv said
that, technically, these universe didn't die; they never existed in the
first place. So the first 50 years of continuity could now classify as
The multiverse problem has been fixed, so Wolfman basically uses this
issue as a lengthy denouement to address the fates of the now-redundant
But Wolfman appropriately gives special treatment to the Golden Age
Superman, in an incredibly heroic battle in which, for once, the hero
doesn't lose his life but is, instead, given a blissful retirement.
Wolfman did exactly what he intended: he left the DC universe a much
cleaner, simpler place. Unfortunately, it didn't take long for it to
become mucked-up again.
[ Homages ]
November 30, 2002 | Site Update
CRISIS ON INFINITE EARTHS #5