>kills off a White male hero to replace him a sassy Latina lesbian
>"reinvents" a dead character as a Jewish lesbian vampire for both progressive and pandering purposes
>A dead superhero couple let a classroom of kids fall into hell but it's okay because they can be ghosts together
>introduces new derivative characters with little merit
>the new "funny animal" character is actually secretly an evil monster and kills one of the new derivative characters
>obscure 90s and z-list heroes brought back just to be killed off so that we know that SHIT JUST GOT REAL
>previously humorous characters kill obscure 90s and z-list heroes because SHIT JUST GOT REAL
How can people defend Fifty Two while complaining about the DCnU?
Fifty Two is literally an encapsulation of everything wrong with mid-00s-present capeshit.
Final Crisis and then John's GL was the next big era of DC.
Then Flashpoint and it's been kind of wavering since then as a lot of talent has scaled back their work or gone to image/marvel. Forever Evil was big and I haven't read it yet but apparently Darkseid War is the bee's knees.
>52 was a complete mess behind the scenes and it's a miracle they didn't fuck it up more.
This, and it was so bad behind the escenes that was one of the reasons Final Crisis had 3 "related· shits that didn't really didnt had anything to do with the story. 52 created sides and a huge division inside DC, and then the whole mess with the bat epic and the suits hating it, DiDio getting into fights with Johns, back then you could heard tons of different rumors
>How can people defend Fifty Two while complaining about the DCnU?
Because 52 was good and happened to feature minorities rather than this new garbage that is made purely with pandering at the forefront of all considerations rather than with telling a good story.
What was good about Renee's story besides its depiction of cancer?
What was good about Booster's story besides the recreation of the multiverse?
What was good about Ralph's and the space gang's stories?
Oh, that magical fairy quality that only the titles you want to like have. As long as a title has "writing" then Renee the lesbian minority woman being shoehorned into Question's role, and Question being killed off in a storyline that was blatantly leading to his cure is suddenly not-tumblr.
More than anything her story was for people who already cared about the character from Gotham Central and wanted to see where she went. Her becoming a hero was great.
Cool depiction of someone who became a hero not because it's the right thing to do, but because he wanted to get famous.
Trying to find a way to save a dead loved one is something a lot of people can identify with, and it was done well.
This was one of the weakest . I'm not going to make any excuses for it. I did like Lobo in it though.
Steel's story was also great because of based Luthor. Black Adam's wasn't too good though, probably worse than space gang.
Didio actually wrote the notes page for that issue in the trade. He says Ralph was planned to die from the start.
I remember there was a podcast or something with the crew a few years ago. No one was happy with how that one was turning out and I think it got close tot he deadline so Didio and Giffen just wrote it themselves. Maybe it's a thing that the 4 writers wanted to change on the fly (similar to "what if we made skeets the villain?") but Didio didn't let them.
No Waid has claimed since his break with DC (and I believe it's been backed by a few others) that Didio spiked the script and wrote his own instead and going against the wishes of the team.
This post makes me happy with me jumping boards around last year.
You faggots try so hard to fit in with the rest of the site that completely lost any chance to enjoy anything, kinda like /v/ and /tv/...too bad your memes suck thou.
Honestly there were some issues with 52. After all, Didio was the editor and Johns was one of the main writers. But the bad is far outweighed by the utter brilliance found when you have writers at the helm who understand the essence of what makes the DCU great (as well as knowing it back to front) and who relish the opportunity to play around in a creative sandbox.
I'm not sure what you consider weak but if you think Johns was on his own with the Booster story I think you are way off base. All of the worst moments in the series have his fingerprints all over them.
>>"reinvents" a dead character as a Jewish lesbian vampire for both progressive and pandering purposes
wait who is this character? are you talking about Kate Kane, cause the vampire shit was made up by a writer we all agreed was awful on Batwoman.
Granted, they all worked together, but some stories were more obviously one writer or another
space gang (and probably villain island) were Morrison, Booster and Black Adam were Johns, Renee was Ruckaroni and cheese, Ralph was Waid
and since Johns went on to write the Booster ongoing, it's not that much of a stretch to say he took the lead there
>it's good because it has an ""epic"" moment
So all MCU movies are good because they have ""epic"" moments too?
>the writing is good
In what way? Show it.
>he doesn't remember that Kate's intro was literally Renee going "HOT DAMN, she's not Batgirl. . . she's a BatWOMAN!"
I was and am absolutely familar with the characters, just because you were in a lot of fun. lighthearted adventures doesn't mean you get a happy ending, that's not how life works. Besides, they did end together anyway.
Renee's banter with Vic was endearing. The mystery behind Intergang, Renee's struggle with morality (culminating in her shooting that bomber girl or whatever), and the general film noire motifs scattered throughout the storyline made it great.
Booster's rivalry with Supernova (actually, pretty much everything about Supernova, including Clark Kent's attempt to interview him), the subversion of the 'history isn't happening like it's supposed to!' trope through making Skeets evil and just a huge liar, and Booster commercializing the fuck out of being a hero and then getting exposed were all genuinely entertaining.
Are you fucking dense? The issue where he infiltrates the resurrection ceremony and then Sue actually calls out to him when it's already too late was incredible. From there we get a look at the often ignored magic/mystical side of the DCU, a probing character study of someone coping with grief, and a nice final confrontation with a Faustian bargain type story arc.
I didn't like this one all that much but it introduced neat settings and the villain(s) were intimidating. It's a neat space opera story but I don't like space operas.
More importantly, 52 used a lot of subtle foreshadowing and set up points of intrigue across multiple story lines. The format was like a bunch of TV shows that you'd watch every week and the intersecting of different story lines was like a crossover episode and felt extra special. The overall density of the title also really helped make it feel like a joined universe (as compared to solo books that often feel like the rest of the DCU doesn't exist) and that things were happening. The tone and style of multiple writers also helped avoid Joss Wheddon/Bendis syndrome where every character sounds the same and made different characters feel pleasantly distinct from one another.
tl;dr: fuck off with your shitty bait.