One thing my recent Nightwing project accomplished was reigniting my love for DC Comics–particularly the stories and universe of the 90s, which, ironically, I have ready very little of. While I initially planned to cancel my DCU Infinite subscription once I finished that Nightwing read, I instead decided to dive into the stories I was always intrigued by but never had the opportunity to read.
As a kid I spent countless hours online following the stories of DC characters I had never heard of before, written by fans who chronicled the various adventures in compelling narratives. The DC Universe was boundless; there were always new characters and new stories to discover. In particular the fall of Hal Jordan seemed especially captivating. Reading about his sacrifice in The Final Night was such a moving memory even in the form of synopsis that when I found the story on DC Infinite those heady days of research came flooding back. Imagine my surprise to find that an event series from the mid 90s, an era that has a reputation for excess and convoluted plots, was in fact one of the most compelling, reserved, and moving superhero stories I’ve ever read.
The Final Night was a 4-issue, weekly event series written by Karl Kesel with art by Stuart Immonen, inks by Jose Marzan Jr. and colors by Patricia Mulvihill. It begins with the death of a world, as a mysterious power extinguishes the planet Tamaran’s sun. The alien Dusk, a messenger from another world, races from the dying Tamaran to warn the next planet of the coming of the Sun Eater, as she has done countless times before. The Sun Eater is coming to Earth, and there is no hope. Her goal is not that the next planet will defeat the Sun Eater but that they somehow save a few from certain death.Continue reading “The Final Night and the Forgotten Legacy of the DC Universe”
The Mandalorian appears to be doing something fascinating in its second season as its threads begin to unravel themselves: Exploring the question of what it means to be “Mandalorian.”
The set up for this exploration seems to have been established near the end of season 1, where Cara Dune explains to Greef Karga that the Mandalorians aren’t a “race,” but rather “a creed.” To be a Mandalorian, as our laconic lead Din Djarin understands it, is to follow this creed to the letter, live in “The Way.” It is a Way of tradition, ritual, and visual signifiers. The helmet becomes the true face, providing a visual identity that binds a disparate people together into one community, regardless of what features might lie beneath the helmet.Continue reading “The Mandalorian and Identity in Exile”