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cover:  George Pérez
Cover Date: Apr 1985
Cover Price: $0.75

Reprinted in:
First appearances of: Pariah and Alex Luthor, Jr.
Co-plotters: Len Wein/Bob Greenberger


Translated and reprinted in OS NOVOS TITÃS #12 (Brazil), CRISIS EN TIERRAS INFINITAS TOMO #1 (Argentina) (2000) , SUPER STAR COMICS #3 (French), SUPER STAR COMICS #4 (France), CRISIS NAS INFINITAS TERRAS #1 (Brazil) (1989),   CRISIS ON INFINITE EARTHS #1 (Italy) (1990), and SUPERMAN TASCHENBUCH #71 (Germany) (1986)

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    • Tales of the Dark Multiverse: The Judas Contract is a "re-imagining" of the original Judas Contract that Marv Wolfman and George Perez made famous From TALES FROM THE DARK MULTIVERSE: THE JUDAS CONTRACT #1 (11 Dec 2019) DC Comics TALES FROM THE DARK MULTIVERSE: THE JUDAS CONTRACT #1 written by KYLE HIGGINS ...
      Posted by Vu Nguyen
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    "The Summoning!" (32 pgs)
    writer:  Marv Wolfman
    art:  George Perez
    Dick Giordano
    colors:  Tony Tollin
    letters:  John Costanza
    editor:  Marv Wolfman
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    CRISIS ON INFINITE EARTHS #1 (Digital) (06 Sep 2010)
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    DC RELEASES #12 (Apr 1985)
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    SUPERMAN #266 (Mexico) (31 Aug 1997)
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    CRISIS EN TIERRAS INFINITAS #1 (Peru) (Jun 2014)

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    Eric M's Monitor costume

    posted Jul 8, 2019, 12:34 AM by Vu Nguyen

    Eric M writes:

    DC Comics

    I wanted to send you guys the debut of The Monitor I did in tribute to George and Marv

    Photos by Adya Moran

    Newsarama: Top DC COMICS EVENTS That Had a Major Impact

    posted Jun 30, 2019, 9:53 AM by Vu Nguyen


    DC Comics
    What can be said about the landmark 1985 series by Marv Wolfman and George Pérez that hasn't already been said?

    Crisis on Infinite Earths changed the whole landscape of the DCU and served as the first time a comic book company would reboot its entire continuity in order to freshen its product — something that's much more frequent these days.

    Crisis killed boatloads of characters (back when character deaths actually meant something)...

    Ten important George Perez work compiled at C4 Comic (Italy)

    posted Feb 2, 2019, 9:56 AM by Vu Sleeper

    From Vu

    DC Comics

    Ten important George Perez work compiled at C4 Comic (Italy) at

    Interview with LaMonica Garrett on Entertainment Weekly

    posted Dec 9, 2018, 8:12 AM by Vu Sleeper   [ updated Dec 9, 2018, 8:13 AM ]



    “I knew the significance and his place in DC mythology, and I know what his name does when fans hear it,” Garrett, a comics fan himself, tells EW. “When you say, ‘the Monitor is in this crossover,’ people’s ears perk up because they automatically think of the Anti-Monitor [and] Psycho-Pirate.”

    Defining the DCU: Wolfman and Perez Talk Crisis on Infinite...

    posted Jun 21, 2018, 8:00 PM by Vu Nguyen

    DC Comics
    Defining the DCU: Wolfman and Perez Talk Crisis on Infinite...

    Over thirty years later, the effects of Marv Wolfman and George Perez's universe-altering CRISIS ON INFINITE EARTHS can still be felt within the DCU. In this exclusive look back, the pair of creators reminisce about building a better Multiverse.


    Perez has his own side of the story, of course. "I was just going to go through and pace it and sneak in as many extra characters as I could, since obviously the plot told you the specific characters who were needed in order to progress the story. So, I would find ways of putting in other characters in the background and stuff like that," he said, but was quick to add that, for as small as it seemed starting out, "There was one point when I actually realized that this thing was becoming massive. Marv did a scene and I drew it and then in the following issue the same exact scene happened—it was getting out of hand."

    That's when Perez took his contributions to the next level and started offering story notes and things really got off the ground. Wolfman explained, "George came in to co-plot, it just took so much pressure off of me. The basic overview of Crisis always remained the same, but the details, the stuff that made it work, our shorthand just informed that whole story. So, everything changed once that happened and so much of the pressure left."

    Has George ever drawn Squirrel Girl?

    posted Jan 1, 2018, 11:55 AM by Vu Nguyen   [ updated Jan 1, 2018, 12:23 PM ]

    Leslie S asks

    DC Comics
    Has George ever drawn Squirrel Girl? are there any commission scans?

    Answer: No. However, Avengers: No Surrender #1 homage cover to Crisis #1 does feature a Squirrel Girl.

    Mark Brooks (@MarkBrooksArt) added "Thanks George, it was an honor to be able to homage you!"

    Also, it's worth noting that if Squirrel Girl had joined the Great Lakes Avengers earlier, she would have appeared on the cover of JLA/Avengers #3 (which features every team member roster from both teams).

    Crisis on Infinite Earths #1 Cover Original Art

    posted Sep 22, 2017, 8:31 PM by Vu Nguyen

    John S. writes:

    DC Comics
    When I started in this hobby I had a shortlist of pieces that were must haves. A cover from Crisis was near top of the list, but with only 12 of them, and most being locked in people's collections, I knew that it was not going to be easy.

    After shortlisting the covers I reached out and contacted the owners of the 3 that I liked the most, and although none of them were in the market to sell (or if they were it was at levels that made Kirby covers look cheap), I kept at it over the years, and back in 2004, I was contacted and asked if I was still interested and could complete the deal in a matter of days. What followed was a back and forth ending up in me picking this piece up in an empty parking lot, in what seemed like the middle of nowhere.

    It was a record price for any Perez piece sold publicly or privately at that time (and for many years after), and although by that stage I was well on my way to getting what I considered the best examples of Perez's works on many titles, I was still in need for that ever elusive Crisis cover. My friends thought I was crazy doing what I did, but I am glad I did, as over the ensuing years I purchased another 2 Crisis covers, but only this one made the final cut when I started to let pieces go.

    Crisis #1 was a wraparound cover and this piece is all on one board, which makes it even more impressive, and sets it apart from all the others. It has everything that you could want in a Perez cover, and from a landmark series that defined the 80's and decades to come.

    Many thanks to the previous owner for thinking of me when the time came, and I will get around to a proper image at some point, but for the time being enjoy.

    Mark Brooks’ Crisis-style cover for Avengers: No Surrender #1

    posted Sep 29, 2017, 7:06 PM by Vu Nguyen


    DC Comics

    Illustrated by Mark Brooks, the wraparound cover depicts pretty much every major player currently calling themselves an Avenger. The USAvengers are represented by heroes including Cannonball and Squirrel Girl, the Falcon-led team is present, along with members of the Uncanny Avengers and Occupy Avengers star Hawkeye. 

    The cover homages George Perez’s iconic cover for Crisis on Infinite Earths, the classic DC Comics storyline that rebooted the publisher’s entire continuity in themed-1980s. Whether “No Surrender” has the same level of effect on the Avengers as the original Crisis event did on the DCU remains to be seen, but considering Marvel has already introduced the fact that the team’s continuity has been changed, illustrated by the retconned introduction of Voyager as a founding member, it’s likely “No Surrender” will leave the team in a very different place than readers are used to. While she’s not visible in the cover art, Marvel has made it clear that Voyager will factor into the storyline in a major way.

    Crisis at 30
    posted Dec 6, 2014, 12:51 PM by Vu Nguyen

    DC Comics
    Grumpy Old Fan | ‘Crisis’ at 30, Part 1
    by Tom Bondurant | December 4, 2014 @ 3:00 PM

    Thirty years ago, as part of the first ship week in December 1984, the debut issue of Crisis on Infinite Earths arrived in comics shops. Cover-dated April 1985, and scheduled to appear on newsstands during the first week of January, it was the flagship title of DC Comics’ year-long 50th-anniversary celebration. The two-year Who’s Who encyclopedia had launched a month earlier, and most of DC’s series would tie into Crisis at some point; but this was the book that promised big changes.

    We talk a lot about the legacy of Crisis — high-stakes events, crossovers, reboots, etc. — but that can obscure the story itself. For all that it was designed to do, and all that it promised, Crisis remains both uneven and intriguing. At times it can read like a ramshackle assembly of exposition and spectacle, held together by the combined wills of its creative team. Some of it is flabby, some of it is clunky, but Crisis can still be thrilling, and even touching. In any event, it remains one of the great mileposts of DC history, so it can certainly stand another look.

    [ Read more Grumpy Old Fan | ‘Crisis’ at 30, Part 1 ]

    Captain Atom Design by George Perez
    posted Nov 25, 2014, 7:48 PM by Vu Nguyen

    DC Comics

    Pencils by George Perez

    Crisis on Infinite Earths homage
    posted Feb 23, 2014, 8:26 AM by Vu Nguyen [ updated Feb 23, 2014, 8:29 AM ]

    DC Comics
    Crisis on Infinite Earths by mushisan
    ©2007-2014 mushisan

    Versão 3D da capa do comics "Crisis on Infinite Earths" (Crise nas Infinitas Terras), uma das melhores histórias que só nerds vão entender

    Para quem quiser ver a versão original, por George Peres, ela está aqui: [link] - é a primeira imagem do lado direito.

    Material: Bryce e Photoshop. Novembro e dezembro de 2003


    MTV: 11 Biggest Comic Book Events - Ever

    posted Mar 10, 2011 11:06 PM by vu sleeper


    What makes something an “event” comic? Is it the sheer number of issues? The number of characters? The impact on the Universe? Sure, it’s those things, but it’s also a combination of those factors – and more than that, its lasting impact on the readers in the long run. Events like Atlantis Attacks over at Marvel, or Invasion at DC might be remembered fondly; but they’re not seminal works that changed the way comics are made. Okay, maybe some of the books on our list don’t quite fit that criteria, either… But trust us: these are the eleven biggest comic book events – ever:


    INFINITY GAUNTLET #1 (Jul 1991)


    7. The Infinity Gauntlet

    Basically a more refined version of the giant cosmic crossovers of 1985, The Infinity Gauntlet found uber-baddie Thanos gaining possession of the all-powerful Infinity Gauntlet. Since Thanos was in love with the avatar of Death, he decided to offer a gift by erasing half of all life in the Universe… Which didn’t sit well with, um, anyone. Massive fights don’t get much bigger than this, as the entire Universe fought against Thanos, drawn by the able pens of George Perez and Ron Lim (and written by Jim Starlin). The comic was so popular, it spawned two sequels, and an ongoing series. But the original is still the best.

    1. Crisis on Infinite Earths

    That said, the gold standard is still, over twenty-five years later, DC’s Crisis on Infinte Earths. A massive villain named The Anti-Monitor, who lives in – you guessed it – the Anti-Matter Universe wants to destroy not just all life in our Universe, but all life in every Universe, and every reality. Ostensibly started as a way of simplifying what DC considered an overly complicated continuity and reboot the whole line, Marv Wolfman and George Perez created an epic work of comics. From the heroic death of The Flash, which used to be the manly-man hallmark (“Sure, I’m a dude, but I cried when Barry Allen died,”), to the several epic battles against The Anti-Monitor, this series is bigger than anything that came before it, and really, has never been matched since.

    News: Crisis Commentary Part One

    October 27, 2005 12:14 am

    CRISIS ON INFINITE EARTHS (Trade Paperback) (Dec 2000)
    DC Comics
    DC Comics
    CRISIS COUNCELING: Wizard Unvierse presents Crisis On Infinite Earths Director’s Commentary Bonus Material Part One!
    October 26, 2005

    For the exclusive commentary on the major moments of DC’s 1985-86 mini-series Crisis on Infinite Earths, pick up Wizard #170 on sale now! In the meantime, enjoy these extra scenes with commentary by co-creators Marv Wolfman and George Pérez that we couldn’t fit into the magazine!


    Crisis On Infinite Earths #1, pp. 6-7

    WOLFMAN: If we had just had Alexander Luthor appear later on at some point full-grown, he may not have seemed like anything special. But by introducing him in this way, now people are trying to figure out how a couple-day old baby is going to have an effect on the rest of the series.
    PÉREZ: I thought the way it echoed Superman’s origin, Kal-El being shot to Earth from Krypton, was a nice touch. The last surviving child of a dying planet was the beginning of the DC Universe and now as we are tearing that universe apart and putting it back together again, we give a nod back to that beginning.

    Crisis On Infinite Earths #1, pg. 14

    PÉREZ: The primary function of Harbinger at the start of the series was to provide us with a way to progress the action without having to give away the Monitor too quickly. I also think Marv did a wonderful job of creating a dynamic between Harbinger and the Monitor that let you know these characters had been around for awhile even if they were only just being seen by us for the first time.
    WOLFMAN: The fact that Solovar is the first character Harbinger recruits is not a coincidence. The Flash was the first character of DC’s Silver Age, so we wanted somebody from his supporting cast to be the first established character brought into the Monitor’s mission, and Solovar fit the bill.
    PÉREZ: And it’s always nice when you first introduce a pretty female character and put her in a scene with a gorilla. The beauty and the beast dynamic are always appealing.
    WOLFMAN: Hey, there are never enough monkeys.

    [ Read more CRISIS COUNCELING: Wizard Unvierse presents Crisis On Infinite Earths Director’s Commentary Bonus Material Part One! ]

    News: Teen Titans at 25, Crisis at 20

    September 16, 2005 05:49 pm
    Teen Titans at 25, Crisis at 20
    The Main Event, Scoop, Friday, September 16, 2005

    Teen Titans at 25, Crisis at 20: The Enduring Duo of Marv Wolfman and George Pérez

    DC COMICS PRESENTS #26 (Oct 1980)
    DC Comics

    NEW TEEN TITANS #1 (Nov 1980)
    DC Comics

    The legendary creative duos in comic books include two teams - Joe Simon and Jack Kirby, and Stan Lee and Jack Kirby - of whom it is generally safe to mention only their last names. Others may well someday be added to this pantheon and still others probably already belong to it, but while Simon & Kirby helped define the 1940s and 1950s and Lee & Kirby certainly defined the 1960s, another team defined the 1980s and in many ways helped set the groundwork for the superhero comics we have today.

    Writer Marv Wolfman and artist George Pérez, who this year celebrate the 25th anniversary of New Teen Titans and the 20th anniversary of Crisis on Infinite Earths, have impacted the superhero genre as have few other pairs of creators. Though both worked extensively with other partners before and since those efforts, there is undeniably something compelling and special about that period and their collaborative labors.

    [ Read more Teen Titans at 25, Crisis at 20 ]

     November 4, 2003 | CBG's Retroview: Crisis
    From COMICS BUYER'S GUIDE #1565 (14 Dec 2003)

    COMICS BUYER'S GUIDE #1565 (14 Dec 2003)
    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 his career.

    DC Comics

    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 fanboy's delight.

    DC Comics

    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.

    DC Comics

    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.

    [ Read more CBG's Retroview: Crisis ]

     October 10, 2003 | The Copper Age
    From Scoop

    Comic Book Ages: The Discussion Continues
    The Main Event, Scoop, Friday, October 10, 2003


    Kirk Mills: The Copper Age was when comics grew up. DC relaunched most of its main heroes, stories became quite sophisticated, and super-writers transformed the industry. Crisis could be a good starting point, but would there have been a Crisis if Marvel hadn't introduced the mega-crossover with Secret Wars?

    Personally I think it goes back even farther. DC's first hugely successful relaunch came 4 1/2 years before the Crisis (and by the same creative team) with the New Teen Titans. A few months later, Marvel gave us the "Days of Future Past" storyline in X-Men which opened the Pandora's box of alternate X-futures and the title started becoming the complex world we know and love. That same month, Frank Miller took over the writing of a title he'd been drawing for a year or two and started the classic Daredevil/Elektra/Kingpin/Bullseye saga that opened the door to gritty drama in super-heroes. Those three titles created the popularity of teenagers, mutants, and ninjas that would later inspire a terrapin parody. Six months later John Byrne began his run on Fantastic Four. So my vote for the start of the Copper Age is 1981.

     May 14, 2003 | Milestone CGC Grade Comics
    From Vu

    Wizard is offering some semi-cheap CGC Graded Comics that includes either CRISIS #1 or CRISIS #7. Seven comics for $99.95 for 9.4 or $129.95 for 9.6 Grades.

    According to CGC's website their Modern Age comics grading is about $15 (with 10 or more submissions), so you are saving quite a bit of money if you're thinking about starting a CGC collection.

    Alternatively, you can also buy CGC graded books at Mile High Comics, if they offer them.

    Personally, I believe you should buy comics to read, not to put on slabs :) Unfortunately, it looks like the trend of CGC is here to stay.

     May 11, 2003 | CBG: Catching up with Giordano
    From COMICS BUYER'S GUIDE #1540 (23 May 03)

    WONDER WOMAN #1 (Feb 1987)
    DC Comics
    DC Comics
    written by George Nelson
    as published in COMICS BUYER'S GUIDE #1540 (23 May 03)
    websites: and


    Though several of the revamps that followed were successes for DC - George Pérez's Wonder Woman represented one of the few times the characters sold well, he remarked - the fixes in some cases created as many problems as they solved.

    "I have to admit that, after Crisis was over, I wasn't watching things as closely and we got new continuity glitches built in by the writers and editors who were there," he said.

    Giordano said that one mistake he made was not following writer [Marv] Wolfman's suggestion to restart the entire line with new first issue following Crisis. However, he said he didn't feel that he had the creative personnel for such a comprehensive relaunch.

     April 26, 2003 | Comics 101: Crisis
    From Movie Poop Shoot

    April 23, 2003
    By Scott Tipton


    In the early 1980s, Len Wein and Marv Wolfman were two of the hottest writers/editors in comics. Longtime fans turned professionals, Wein and Wolfman had both had stints in the editor-in-chief position at Marvel Comics, as well as turning in extremely popular, high-profile stints as writers. Wolfman had written just about every comic Marvel had put out, including a notable run on TOMB OF DRACULA with Gene Colan, while Wein had made a name for himself on AMAZING SPIDER-MAN and FANTASTIC FOUR, not to mention co-creating the new X-Men and Wolverine. Eventually, both found themselves at DC Comics, where Wein had a lengthy and well-regarded run on JUSTICE LEAGUE OF AMERICA, among others, and Wolfman created THE NEW TEEN TITANS with artist George Perez, a critical and commercial smash hit.

    Wein and Wolfman were of the belief that the parallel Earths of the DC Universe were far too complex and confusing to the common reader, and came to DC’s Publisher Jenette Kahn with a bold proposal: a 12-issue miniseries (unheard of at the time) that would involve all of DC’s characters, past, present and future, in a mammoth, cataclysmic adventure that would result in a single, elegant, consistent DC universe. Much to their surprise, Kahn approved the idea, and set them off to begin the research for what would be the single most ambitious project in DC’s publishing history.

    With both Wein and Wolfman working full-time as writers/editors, the bulk of the research fell to Peter Sanderson, a comics fan/historian, who over the course of three years or so read every comic National/DC ever produced, taking extensive notes. The research took so long that the miniseries was postponed, eventually scheduled for 1985, which just happened to be DC’s 50th anniversary. When Wolfman nervously presented his first synopsis of the series to Kahn, he feared he may have been too outrageous, asking for changes that were too radical. To his surprise, Kahn returned the synopsis, asking Wolfman to take another crack at it and be even bolder, to really shake things up. Wolfman delivered.

    [ Read more on ]

     April 18, 2003 | More Bronze Age
    From COMICS BUYER'S GUIDE #1534 (11 Apr 03)

    DC Comics
    written by Craig Shutt
    published in COMICS BUYER'S GUIDE #1534 (11 Apr 03)

    Bronze Age fans strike back again!


    Dave Blanchard: … "While I've argued that the Bronze Age ended with Crisis #12 (Mar 86) - not with #1 - and can respect (if not necessarily agree with) your notion of taking the Bronze Age all the way to the end of the 1980s, I'm not 100% sure that either of us is right. Maybe the Bronze Age never really ended, since super-hero comics haven't fallen off the radar screen the way they did in the interregnums between the Golden and Silver Ages and between the Silver and Bronze Ages.

    My theory is that all the grim 'n' gritty stuff that followed Crisis, such as Watchmen and Dark Knight Returns and the rebooted and darker versions of Superman, Batman, Wonder Woman, Hawkman, Aquaman, et al., were kind of that period's equivalent of the monster comics that ruled the early to mid-1970s - the cruel difference being that, this time, the monsters were the super-heroes themselves…."

    Craig Shutt: "Your take on Crisis creating a new age of horror comics centered on horror-heroes is the first time I've heard it argued that way, Dave, and, in that framework, I'd give it more consideration than I do otherwise. But I've heard many anecdotes from fans who were enticed back to super-hero comics by Crisis, and they wouldn't have hung around after that, if the comics hadn't excited them. I don't know that I'd say Crisis really darkened that many heroes overall…."

     January 23, 2003 | Wolfman's Todays News (1/22)
    From Marv Wolfman
    written by Marv Wolfman

    I just read Crisis on Infinite Earths, the first time I've ever re-read the full 12 chapters, actually. Back in '85 I of course checked them out when we got the printed copies, but, truth to tell, when I finished writing the series the very last thing I wanted to do was look at that book again. It was and remains the hardest thing I've ever done and when I typed "The end," I pretty much got on a jet plane and spent the next five weeks touring Europe forgetting it. There were the inevitable nightmares putting it together and trying to coordinate the series with all the editors at the time. Not an easy task since it was the first time something like this was ever done. There were disappointments that the ending couldn't be what I wanted: everyone forgets the Crisis ever happened and they live their life on the new combined Earth as if it was never anything different - but, more importantly, I was just happy it was over. Imagine trying to write that thing while still writing four other books, coming into the office three days a week and editing a line of comics, and, stupidly, doing a signing tour during the summer where I flew to some city every Friday and returned Sunday... for thirteen straight weeks. No wonder I went into a writer's block. When I did the one-shot Crisis sequel a few years back I only had to read through issue four, since the story was set during issue 3. But this time I read all 12 issues.

    Man, who are some of those characters? I don't recognize a whole slew of them. Literally. There are tons of sub-plots I can't for the life of me recall. I read it more like a reader than the writer as I didn't remember half of what the characters did. I was impressed by the story's complexity and structure, but appalled by my over writing. There must be 50 million balloons a page. On the whole, though, I actually enjoyed the book more than I thought I would, which for me is rare.

     October 7, 2002 | Stopping the Bronze Age
    From COMICS BUYER'S GUIDE #1509 (18 Oct 02)
    published in COMICS BUYER'S GUIDE #1509 (18 Oct 02)
    written by Craig Shutt

    DC Comics
  •   WONDER WOMAN #1 (Feb 1987)
    DC Comics
  • Gerry Sorek and Dave Blanchard argued that it was actually Crisis on Infinite Earths #1 (Apr 85) that ended the Bronze Age. Gerry noted that DC "was changing direction and leaving the past behind and creating a new version of things (whether they were completely successful or not). This was the first of several companies' retooling projects, leading into a new era." As a result, he says, it indicates "a fitting place to mark the end of that previous time period."

    I understand their point, because Crisis certainly was a change, and a new ages are invoked by great change. But I believe the changes added more superhero excitement to what was there; it didn't stop it. Sure, to a long-time fans who had embraced the multiple Earths and loved the characters as they were, the changes could have been a disappointment and even a betrayal. But in the last 10 years, I've heard a lot of fans say they returned to reading comics because of Crisis.

    Comics' ages are about excitement and about super-hero comics. That's how both the Golden Age and the Silver Age claimed their names, and it's why another age would lay claim to the title of Bronze Age. And the bottom line is that Crisis (and Secret Wars before it) added excitement and new fans to super-hero comics.

    Besides, Crisis actually didn't change too many characters. It killed some of the duplicated Earth 2 characters who had caused confusion (mostly for editors). It also passed the Flash mantel to Kid Flash. But the major DC reboots didn't occur during or as a result of Crisis.

    Only Wonder Woman truly was rebooted based on events from Crisis, and it took one year before her new #1 (Feb 87). Superman was rebooted a few months after Crisis, in the Man of Steel mini-series, but it just happened with no precursor (negating Supergirl's Crisis sacrifice and making the effort to revert Wondie to clay for a fresh start seem wasted)….

    [ Read more in COMICS BUYER'S GUIDE #1509 (18 Oct 02) ]

     July 13, 2002 | Bronze Age
    From COMICS BUYERS GUIDE #1497 (26 July 2002)
    When was the Bronze Age?
    written by Craig Shutt

    Crisis: Some fans believe this series ended an era by creating the one-world DC view. But Crisis brought many new fans back to super-hero comics. The grappling with various threads that came out of a Crisis compares with the declining years of the Silver Age, 1968-1970, when a host of oddball comics were produced in an effort to find another winning direction. In the Bronze Age, the compaies again were searching for new ideas, but they searched primarily within the super-heroes. It's also difficult to believe the third great super-hero era ended before Dark Knight Returns and Watchmen appeared.

    (Vu: Two other important comic books mentioned (and discussed) in this article was NEW TEEN TITANS #1 and CRISIS ON INFINITE EARTHS #1. Incidentally, according to this article, the Bronze Age took place between 1975-1989.)

    [ Read more on COMICS BUYERS GUIDE #1497 (26 July 2002) ]

     July 13, 2002 | Crisis Question
    From Silver Bullet Comics

    DC Comics
    WHAT TH--?
    Sunday, July 7
    By Marv Wolfman

    Letters. We've Got Letters!


    Q: Why didn’t DC Comics stop you from killing Supergirl/Flash/ Earth 3/The Green Stringbean, etc. in Crisis On Infinite Earths?

    A: Well, the truth is I went behind the backs of the company; the president, publisher, proofreaders, assistants, production department, curious bystanders, my dog, Tala, and random others and see if I could sneak in the deaths of major characters, all by myself, without anyone noticing. Also, because I don’t like green stringbeans and he deserved to die anyway! Final also, I personally get a visceral thrill in taking things that don’t really exist in the first place and murdering them.

    There! At last I’ve told the truth. I’m glad to have gotten that off my chest after all the years. You have no idea how many times I’ve lied about this when I repeatedly said I worked hand-in-hand with the company in choosing our “death list.” Fortunately, nobody believed my lies and you’ve now forced me to come clean. I already am sleeping better. Thank you.