Author: Cheryl Lynn

05•06•14

Through the looking glass.

Don’t put your heart into something your people aren’t permitted to own or have a hand in creating.

It’s the hardest lesson to learn—especially if one has no alternatives available created by one’s people. We wish to identify with characters whose faces resemble our own, to bask in the validation it provides. We exist. We are of value. But what black people must know, especially when it comes to the media we encounter, is that content we do not own or have not created can easily be used to hurt us—either through the swift erasure of black people and the whitewashing of black characters to appeal to potential non-black audiences, heavily weighted negative stereotypes that result in discrimination, or the financial exploitation of black people. For that which is created specifically for black audiences sans any input from black people is a product devoid of black culture designed to siphon money from the African diaspora while providing nothing in return.

We want to be touched by the art we consume, to give ourselves over to the emotions elicited. And we should, no matter the creator or creation. But we should not search for our reflections in that which has not been shaped by our hand. For paper mirrors fashioned for us by those who are not us are not mirrors at all.

05•02•14

A new spin.

I’ve blogged at length about Vertigo in the past—and its relation to Image’s ascendance to Vertigo’s former position as the reigning leader in publishing avant-garde works from famous writers in the realm of comics. There is no way Vertigo can regain its former glory in the short term. Success begets success and Image has been riding on a wave of positive press and celebrity that sees no signs of cresting. Yes, there were critics who rightfully pointed out the lack of racial and gender diversity in its current crop of superstars, but given that this is an issue that plagues nearly all of Image’s peers, it seems strange to hone in on one company in regards to what is so very clearly an industry-wide problem.

It is a problem that in regards to racial diversity will likely not improve at companies such as Marvel, DC, Image, and Dark Horse—not due to willful bigotry, but the focus on established writers to increase notoriety means that these companies are not interested in discovering new talent, leaving them to a pool that is overwhelmingly white and male. At best, one can hope for an increase in the number of books written by a small number of established female writers. Unlike the dismissal of concerns regarding racial diversity, gender diversity does seem to be a clear focus. The purchasing power of women is phenomenal (as is the number of women who read for pleasure). So while there is irritatingly not a press to increase the number of female creators, there is a clear desire to create an environment where female consumers feel welcome and can purchase books that reflect their interests. I predict Marvel, Image, and Dark Horse will continue to press female-centric ad campaigns, increase the number of books with female leads, and attempt to increase the number of books per month written by the one or two established female authors available to them. DC, for all its negative press, has bucked the trend by smartly leaning on Scott Snyder as a talent scout, slowly increasing not only the number of female writers, but writers of color as well. DC would do well to keep Snyder extraordinarily happy, for he does three jobs for the price of one: writes well-received comics, discovers new talent, and possesses the ability to launch a charm offensive for DC greater than its management or editorial staff. In layman’s terms, he’s a genuinely nice person to be around.

But the focus today is not on DC proper, but the Vertigo imprint. And I feel that as DC has bucked trends, so should Vertigo as well. Where Image and Dark Horse are focused on acquiring superstars, Vertigo should be focused on creating them by locating fledgling talent. The imprint should also lean on the talent pool largely ignored by Image and Dark Horse—female writers and writers of color.

And Vertigo had best work fast, for smaller companies such as BOOM! Studios have done an excellent job crafting a quirky, female-friendly image that is highly appealing. Note that the company was the first to participate in the successful We Are Comics campaign, showcasing the diversity in its staff. A quick rundown of its creators also shows a greater number of women when compared to companies above its weight class.

Where BOOM! woos women, even smaller companies such as Lion Forge and crowdfunding sites such as Kickstarter woo writers of color. Those who have been discriminated against previously will turn to areas where those of their group are clearly visible in campaigns and have found success. Why bother approaching an editor who has no interest in you when you can take your project directly to the people? And so Kickstarter swells with projects—some good and some bad—but with a diverse selection of writers not found anywhere else in comics. Everyone is afforded equal access to be considered.

So with companies chipping away at its platform from above and from below, how does Vertigo compete? Surprisingly, by resting on its laurels. Vertigo still has name recognition in many circles even beyond the realm of comics and into the world of prose publishing where so many women are key figures. It should use its reputation to focus on adapting key works by established female prose authors and authors of color. Of course, this route will only remain successful as long as Karen Berger remains inactive. For many she still is Vertigo, and the moment she should decide to set up a comic imprint at a prose publisher (or even worse, a comics publisher), Vertigo maintaining any foothold would become that much more difficult.

However, money helps in overcoming adversity. Should Vertigo have access to a budget larger than its peers, providing a decent paycheck to creators would help the imprint look a great deal more appealing to struggling talent, even if the contracts being offered down the road provide greater freedom or possible long-term gains. Many will willingly accept a work-for-hire situation or endure editorial missteps for additional funds—especially if Vertigo takes great care to ensure said missteps do not occur often.

04•26•14

Thank hue.

Shout out to every redboned militant in my family who knew the deal. Who lovingly painted angels brown so their babies would feel welcome at Christmastime. Who shook their heads and chuckled at the women using umbrellas on sunny days so that their little girls would see how ridiculous it looked, and how sad it would be to deprive the skin of sunshine.

Shout out to the light-brights who wove art into Afros while their wavy locks snapped in summer breezes. Who bought chocolate-hued Barbies by the armload. Who told their daughters that God made them the color they were because they were as sweet as cinnamon and should look like it too. Who used jobs their fair skin clearly afforded them to feed a family so very many shades of black.

Shout out to the high yellows who knew that the road would be hard for the daughters they sired who had been cloaked in the skin of the men they loved so, so deeply. Who were furious that the world would try to deny their children their rightful place by their side in all things. And so they would do all they could to support them and love them, to do battle until the world loved and supported them too.

07•25•13

Grand theft autonomy.

“I loved gaming when I was younger, but as I got older I learned pretty quickly that it wasn’t a world that loved me back.”

Laura Beck

I can’t find fault with Laura Beck’s statement. In fact, it is a statement I have made myself in regards to other mediums where race is concerned. But I feel that Beck’s exasperation with the three male leads in Grand Theft Auto V is misplaced. Michael, Franklin, and Trevor exist, not because Rockstar is fearful of a female lead, but because Rockstar Games is determined to retell the cherished stories of GTA’s past. Grand Theft Auto V is not about innovation, but renovation—replicating the very same characters and situations that brought the company its previous success. Michael is Tommy Vercetti, Franklin is Carl Johnson, and Trevor is Phil Cassidy. Niko of course, is a modern-day Claude Speed, which is why he was chosen as a stand-alone character to launch Grand Theft Auto IV in the same manner that Claude, and Claude alone, championed the new sandbox version of the Grand Theft Auto franchise we have all come to love with Grand Theft Auto III.

I’ve discussed this at length before, but a quick summary is in order: Claude and Niko represent the poor white immigrant’s journey through New York City’s underworld; Michael and Tommy are symbols of established and firmly entrenched organized crime; C. J. and Franklin represent wayward but hopeful youth trapped in inner-city black communities decimated by the emergence of crack cocaine. The comparisons between lead characters can be taken even further, playing upon the similarities between Victor and Luis, young Latino men with family obligations thrust into a world of debauchery and excess, and Johnny Klebitz and Toni Cipriani, low men on the totem pole in criminal organizations chock full of duplicity and double-crossing.

Rockstar brings nothing new to the table, but what is brought is so comforting and satisfying that the complaints are few. That said, there are clear issues regarding gender within the GTA franchise. I hope, just as the time between Grand Theft Auto III and Grand Theft Auto IV allowed Rockstar to fix the glaring racial stereotypes found within the franchise, so will the time between Grand Theft Auto IV and Grand Theft Auto V allow Rockstar to rectify its skewed depiction of women. However, clues to Rockstar’s enlightenment will not be found in Grand Theft Auto V‘s lead characters, but in its NPCs. Specifically? Its sex workers.

The obvious omission of male prostitutes from Grand Theft Auto IV proved that Rockstar’s desire for an element of realism was not to be had at the expense of alienating sexist players who could not handle seeing men placed in a sexually submissive role. Male hustlers are an obvious fact of life in New York City—and in Los Angeles. Should their presence be lacking in Grand Theft Auto V, kowtowing to bigoted players will likely be to blame. And I will certainly not be sticking around for the next installment of the series.

But unlike Beck, I feel that Rockstar is laying the groundwork for a new female lead character. After all, they have almost run out of characters to recycle! I believe that in a year or two we will all be lining up to purchase Grand Theft Auto: The Legend of Packie McReary, featuring Patrick, a Korean protagonist clearly reminiscent of Huang Lee, and a female drug runner and madam of Mexican descent. After all, to have a story set in a city suggestive of Los Angeles that does not feature Latino and Asian communities is criminally stupid—just as it is to have a story focused on crime that does not involve women. Women are notorious for being drug mules and participating in illegal sex work, and have been a part of Los Angeles’ street gangs for decades. Plus, the addition of female thieves to be used in heists in Grand Theft Auto V is likely Rockstar’s attempt to ease bigoted fans into a more progressive and inclusive stance regarding female protagonists.

But the question is not whether fans will purchase a game starring a female lead. We know they will. Lara Croft is a testament to that. The question is whether the boys’ club at Rockstar Games can provide a female lead that is well-rounded, well-written, and fun to play. A female lead will need to focus more on stealth, speed, and firepower instead of street-brawling skills demanding of upper-body strength. Will Rockstar make the adjustments necessary to accommodate this? Plus, given the mockery of trans women (the deep voices of the prostitutes Niko frequented were inserted for amusement) and the flat, stereotypical depiction of women in Grand Theft Auto IV, I’m not confident a female lead would be given the fleshed-out personality provided to male leads. The Grand Theft Auto franchise is populated with shrill harpies and dim-witted party girls. We really haven’t come that far from Catalina and Maria, and the blame can be laid squarely on Rockstar’s writers for that.

It can also be laid on the writers that inspire Rockstar’s writers. After all, the Grand Theft Auto series borrows heavily from America’s most beloved crime dramas, dated dramas that focus on the lives of men. If Rockstar wishes to venture into the uncharted waters of a female GTA protagonist, it will need new source material. Celebrity, technology, and changing social mores have revolutionized the roles of women in criminal enterprises. Twitter, Instagram, and reality television allow high-end call girls to discretely advertise to wealthy clientele—and contraband can easily be shipped right along with the woman a lovelorn musician, CEO, or athlete has unwittingly paid to transit. Finally, all one needs is a pretty girl and an iPhone to obtain the layout of a mansion for a later armed robbery. Three crimes for the price of one—and one hell of a fun GTA side mission!

Unlike Beck, I will be purchasing Grand Theft Auto V—and I will be closely examining how the game lays the groundwork for the next GTA installment—an installment that hopefully makes Beck and her peers finally feel welcome.

07•23•13

One blood.

“You’ve never heard about West Indians being cheap?”

The question had been leveled at me by my mother’s longtime friend, who was clearly amused and surprised by my ignorance. Her tone, teasing and with a musical lilt, was devoid of an iota of maliciousness.

“No! I’ve never heard that before!” I was now fascinated, as if I had come across an old family secret that I’d now been deemed mature enough to handle.

My mother’s friend called out to her, eager to acquire an additional testimonial. “You ever hear about West Indians being cheap?”

My mother didn’t even bother to look up from the laundry she sorted to field such a simple question. “Oh, yeah! The cheapest, honey!”

The matter was settled. “You know your husband is of West Indian descent, right?” I pointed to my father, whose family had come from St. Vincent and Haiti to find a better life here in America. I feigned disdain, but my motives were clear. My father is notoriously and hilariously cheap.

“Well…” My mother’s voice trailed off. A pregnant pause held in the air for a brief moment, and then, like rainfall after a snap of lightning, the jokes flowed like water—torrential, ceaseless.

For so many who see black people as a monolith, who cannot even comprehend the possibility of multiple black cultures, the above anecdote likely comes as a surprise. Yet in my mother’s house that day, filled solely with black people, there was a wealth of diversity borne from countless unique cultures, and a gentle familiar ribbing that is allowed due to shared racial experiences. I am American; African and Caribbean blacks are my cousins—sometimes literally. I tease my family and my family teases me, but I will love and stand with them. Always.

Had a non-black person been in my mother’s house that day and dared comment on West Indian penny-pinching, or African arrogance, or American idleness, he would have been verbally eviscerated for not knowing his place as an outsider who has happened to be made privy to “family” in-jokes—jokes that none of us truly believe or take seriously. I have been in the midst of a group of Filipino, Korean, and Chinese individuals teasing each other regarding which Asian ethnicity is the most racist and possesses the worst accent. I have been made privy to intentionally silly conversations regarding whether Puerto Rican or Dominican men are better lovers. And I’m sure somewhere an Irishman, an Englishman, and a Scot are jovially arguing about some trait that—as a black person and an American—is not for me to comment upon, no matter how many Europeans I call friends. I may be a beloved visitor, but I am not family. Oh, you want my opinion? Nah, I’m good. I’m simply honored that you feel relaxed enough in my company to speak freely and will enjoy the camaraderie. I have enough common sense and respect for those present to refrain from commenting, no matter who is willing to “cosign” for me.

“So, how come white people can’t say nigger and black people say it all the time?”

All the time? All of them? I won’t even address that part. But the answer is for the reasons stated above. The phrase often removed from the query is “without being considered a racist.” Please note that if you have typed some version of this question your disrespect and ignorance is completely exhausting and you are a blight upon every message board in existence. You cannot be jailed for saying nigger. You cannot be killed for saying it—not without rightfully severe legal repercussions for your murderer. You may lose a friend, a job, or a romantic partner—but you don’t have a right to those things. It’s “life, liberty, and the pursuit of happiness,” buddy. You can’t complain simply because you don’t have the common sense to pursue it efficiently. Perhaps next time you should try not being a bigot.

I don’t use the word nigger. I find it distasteful. But should I have a change of heart tomorrow and make the slur every fourth word I utter, I would not be considered a racist. I am black. My status is not one of an outsider. Due to shared racial experiences, I am “family.”

The problem is that many non-blacks, including all who have asked the question in question, refuse to accept an outsider status. The idea of being an outsider, even in a role that is respected and cherished (for example, Eminem or Teena Marie), makes them irate. How dare black people—these lesser people—deny us anything? How dare they have something to which we are not provided access? These people feel that not one shred of respect or privacy should be afforded to black people. Non-blacks who demand use of the word nigger sans negative social consequence feel that black Americans should be stripped of all elements of their culture for the consumption of others. For them, to be black is to be a constant performer—a jester for amusement. Black cultures are merely products to try on. Twerk team! S’up, nigga? Shade! Every ounce of every black culture should be splayed open to sample. They demand black people acquiesce dominion over any portion of any black culture should a person who is not black desire it.

And therein lies the issue. For in this age of globalization, it is a wonderful thing to share one’s culture with others. How fabulous is it that I can hear hip-hop from Romania, eat pad thai, and wear chancletas? S’great. But I know that when I immerse myself in a culture that is not my own, I act as a visitor or an ambassador. I do not get to assume ownership of that culture, and if the denizens of that region feel there are cultural rites I should not have access to? That’s fine. Would I love to dance in an Indian headdress? Omigaaawd, who wouldn’t? But this would offend many Native people. And so it is not appropriate for me to do so. I accept that. And for the record, I have Native ancestors and I still know there are lines I should not cross. Though I am “blood,” I am not “family.”

In other words, your black friends are not a valid excuse for your use of the word nigger. You are making them look corny, spineless, and anxious for approval. Stop embarrassing them. Stahp.

Unlike a weeaboo or an Anglophile, who comes across as desperate yet deferential, non-blacks who use the word nigger (or nigga) assume a disrespectful and dismissive position of dominance over black American culture. It is akin to walking unannounced into a stranger’s living room and putting your muddy feet upon their coffee table. “Well, they have their feet on the coffee table,” you cry. “Why can’t I do the same?” The answer is simple.

You aren’t family and it’s not your house.

06•01•13

Timeless icons.

Batman 1972 by Francesco Francavilla

I know comics and I broke up a while ago, but I must state that Francesco Francavilla’s pet project modeled after works appearing under DC’s Elseworlds imprint is money on the table for DC. Three sets of 64-page one-shots starring the trinity. Each character gets a different decade: Superman against the backdrop of the gluttonous, Cold-War-fueled ’80s; Batman in the crime-ridden, wayward ’70s; Wonder Woman fighting for our rights in the mid ’60s. Superstar artists all the way. When it’s all done, bind that sucker up in a huge hardcover crammed with all sorts of pinups of the trinity in different time periods. Then? Do it all over again with a different set of artists: Superman in the early atomic age (’50s); Wonder Woman taking on Nazis during WWII (’40s); Batman trying to keep Gotham from sinking during the Great Depression (’30s).

Money on the table.

I want to take a moment to expand upon what I mean by that phrase. Every product containing Batman is profitable. Fans of the character will purchase even subpar work containing an appearance by the Dark Knight. However, the work I described in the preceding paragraph, if marketed correctly, would have a great deal of longevity as a trade and would easily interest fans outside the standard direct market. What I described is a coffee table book crammed to the brim with trendy, superstar artists, featuring America’s favorite modern myths and leaning heavily on the country’s most beloved form of entertainment—nostalgia.

05•30•13

Rebelle.

Rihanna

I will make this short, but sweet. Should Rihanna ever allow a surgeon to carve into her face, to raise the slope of her nose and narrow the bridge between her wide, sparkling eyes, she would cease to be unique. For unlike the many pop princesses who have preceded her, women who have unfortunately thinned their features to secure public acceptance, Rihanna’s beauty is subversive. Cloaked in the light skin that is erroneously heralded as superior in many cultures, Rihanna’s decidedly wide African features are allowed to project boldly from the covers of fashion magazines, to be emblazoned upon billboards, to slip across our television screens, to be uniformly heralded as what they are and would sadly not be considered should they be found upon a woman of a darker hue—beautiful.

Like water eroding stone, each appearance, each reinforcement of her desirability is a slow and steady wearing away of the narrow and racist standards of beauty that have maintained a chokehold upon North and South America for centuries. Like a bombshell girl of the forties, Rihanna is a symbol of warfare, though cultural rather than conventional. Undoubtedly beautiful and black, she is unapologetic and joyful regarding both.

05•16•13

Image is everything.

The title of this post is a bit of a misnomer since I plan to touch upon comic companies directly competing with Image, but good headlines are hard to come by! I’ve been thinking a bit about my previous posts concerning the fate of Vertigo (of which there were many). I had come to the conclusion that Image would usurp Vertigo’s grip on the publication of cutting-edge titles from superstar creators and talent on the cusp of notoriety. Looking at Image’s line-up, I can certainly say that I was right. I had also assumed that Vertigo would then conquer IDW’s domain, bringing quality cult classics from other arenas to the world of comics. My belief was that IDW would simply roll over, unable to compete with DC’s monetary resources. Those predictions were wrong. IDW has in fact strengthened its position: securing work from creators Jeff Parker, Steve Niles, and Duane Swierczynski; luring away former DC editor Sarah Gaydos (who can boast of her work on Vertigo’s Django Unchained); and expanding its list of titles. Clearly realizing that there is strength in numbers, Dark Horse and Dynamite have entered into a partnership. While the partnership concerns only digital works, there are still many more months of announcements and a long stretch of convention season still ahead of us.

Where does this leave Vertigo? Stripped of its power and glory—seemingly embedded in its former executive editor, Karen Berger—it must begin once more as a fledgling imprint, laying the groundwork necessary to rebuild its talent pool and brand. At first glance, it seems to be doing a superb job, publishing work such as Prince of Cats and Django Unchained. Though the works listed are of a higher quality than the fare once found on UPN and the WB, I can’t help but recall how the struggling stations bolstered their ratings by reaching out to talent of color—and wonder if DC has attempted the same with projects from writers such as Mat Johnson and Ronald Wimberly (as well as the earlier acquisition of Milestone’s characters). That Prince of Cats does not boast an i in its upper left-hand-corner should honestly be of great embarrassment to Image. That Mat Johnson has made Vertigo his home in the four-color realm should be unsettling as well. Why is Image unable to “seal the deal” with creators such as these?

But will Vertigo possess the ability to do so much longer given the absence of Berger and her protégés?

“I wrote a scene where Juliet is smoking weed with her homegirls in the bathroom. I started thinking about NY in the late ’70s and ’80s, [so] I put that in there. Karen liked it. Karen was real supportive. It was important to me that Karen dug the characters. I broke down the whole book.

“I guess here’s where things got difficult. I got lost in the bureaucracy. They switched editors twice on ‘PoC,’ and in the end, I lost that game of musical chairs, and badly. I had to nag to get things looked at and approved. Because I wanted certain control over things like color and design, the process was held up further. The fact that I’m a bit mercurial didn’t help.”

Ronald Wimberly

The empire has clearly fallen, and I think this remaining dominion of Vertigo will be conquered by organizations such as Dark Horse, Oni, Top Shelf, Drawn & Quarterly, and—of course—Kickstarter. As for Vertigo, I wonder if it will simply become an imprint for quirky off-brand works featuring existing DC properties.

I (and many others) have jokingly referred to Image as the new Vertigo, but can Image become the new DC?

“Image will increasingly shift from creator-owned to in-house properties. These ‘in-house’ properties may themselves be partially creator-owned, but the focus will be far more on developing their own brands (in the style of ‘The Walking Dead’) than launching those of independent entities. Of course, a big part of this has to do with TV/movie options, etc.”

Valerie D’Orazio

A shift in Image from creator-owned to in-house properties? Sounds ludicrous, no? For those paying attention to interviews with Stephenson, it shouldn’t seem too farfetched.

“One of the things we’ve been working on this year, with our What’s Next campaign is to focus more attention on continuing series, through both ads and retail posters, because it is important for people to be aware of those books. We’re also working on a variety of retail incentives to make it as easier for retailers to support a title at literally any point in its run, whether it’s on issue one or 100.”

Eric Stephenson

I don’t think Image will ever abandon its focus on creator-owned properties, but I think there will be greater emphasis placed on promoting books featuring characters owned by the Image partners. After all, charity begins at home.

Can Image become the new DC? DC is an engine that runs on the fuel of its beloved icons; Image is a young company and possesses no icons. However, with twenty years beneath its belt, Image can certainly use nostalgia to its advantage. Just as it was successfully achieved with the Extreme titles, Image can reinvigorate interest by (1) relaunching earlier works with new visions by popular creators and (2) providing longstanding Image titles with consistent material by their original creators, cosmetic revisions for struggling works, and new “jumping on” points for all.

In regards to diversity, DC simply takes a consumer’s approach, using its vast resources in an attempt to acquire what it has difficultly cultivating in house—popular characters of color and a diverse writing staff. Image appears content to be pursued by talent, which generally results in homogeneity in regards to race and gender. Earlier, I was discussing with a friend how I felt that talented black writers mainly tended to eschew the mainstream, convinced in the belief they are not welcome. Now, it seems there is even an avoidance of smaller companies, with Kickstarter reaping the benefits—leaving slim pickings for actual publishing companies.

“No one likes to say this out loud, but for the most part, the submissions publishers receive are not very good. By and large, the art is so bad that even the proudest parent in the world wouldn’t put it on the fridge if their kid brought it home from school. There are endless pitches that are either re-hashed versions of stories that have already been told, or even worse, completely incoherent. Most of the time, looking through the submissions pile is pretty depressing.”

Eric Stephenson

If a racially diverse selection of writers is a goal—and to be honest, it seemingly isn’t a goal for the industry, nor a concern outside of Black History Month—both DC and Image will have to select representatives who can act as talent scouts and impress upon the populace that diversity is a concern. Image will need to woo established writers of color (Liu, Bernardin, etc.) from other comic companies and arenas; DC—hit with a wave of bad press that has made many established writers wary—may have to settle for grooming novice writers with potential.

“Don’t know if [Milestone] would fit at Image. They’re kind of about that solo pioneer spirit. And imprints revolve around one creator’s properties.”

Cheryl Lynn Eaton

The above quote is one from a debate I had on Twitter on whether Image could succeed with an imprint akin to Milestone where DC had clearly failed. Though Image excels at world-building across multiple titles (as most comic companies excel), those worlds clearly spring from one writer’s creative vision—generally, one lone white guy (Kirkman, Silvestri, etc.). What was so wonderful about Milestone was that men and women from a large variety of ethnic and racial backgrounds came together to create quality comics featuring a world that was equally as diverse. Image cannot provide that. DC cannot provide that. I cannot think of one company that possesses the diversity, the level of talent, and the financial stability required to recreate such an operation. All three are required for it to work.

All in all, I’m interested to see how things unfold—for Vertigo, for Image, and for the industry as a whole. Even Milestone, which celebrates its twentieth anniversary this year, may have surprises in store.

05•14•13

A Flash in the pan.

I got my Earth One: Wonder Woman! But I’ve already discussed that. Today, I’m here asking for a mile out of the inch that was given. I want more. Specifically, I want Earth One: Flash, Earth One: Green Lantern, and Earth One: Justice League. And then? I would like the Earth One universe to rest on its laurels and allow for innovative ideas concerning wholly new characters.

For Earth One: Flash? We’d be examining the life of one Walter West—endearingly referred to as Junior. Desperate to fulfill both the Park family’s desire for another doctor to add to the fold and the West family’s desire to have yet another West as a member of the police force, the affable Walter—the son of Wally and Linda West—works as a medical examiner for Central City’s police department. Walter’s grandfather, Jay, has recently retired from his position as police commissioner. Walter’s uncle, Barry, still holds a position as captain. Wally, Walter’s father, died as a hero in the line of duty. Walter worries that he will be forever trapped in his father’s shadow, unable to live up to the idyllic example Wally provided.

Walter possesses all of the wisdom of the Park and West clans and none of the grace. His mind is forever two steps ahead while his body is a half-step behind—until a freak accident while out in the field leads to a discovery that alters Walter’s life permanently.

I chose to retool the West family to allow for both nostalgia and novelty. Earth One would have its first biracial superhero and a brand new character but also tie heavily into existing characters and themes explored in Flash issues. I believe that all of the Earth One volumes should serve as a bridge, connecting the history of past tales to our modern culture. Stories bend and shape to fit who we have become as a people.

Next up? We’ll discuss Earth One: Green Lantern and how I like my Green Lantern like I like myself—black with a handful of green.