15 ADAPTATIONS MORE FAMOUS THAN THE ORIGINAL COMICS
The original comic book version of Static is so overshadowed by his animated self that most people assume the character’s name is actually Static Shock. First published in 1993 under DC Comics’ Milestone Media imprint, Static proved to be successful until publication ceased in 1997. Instead of falling into obscurity, the character was preserved in the “Static Shock” animated series that took place in the DC Animated Universe.
In order to adapt the concept for kids, some of the more mature concepts of the series were removed and his costume was radically altered. Thanks to the popularity of the TV show, Static was brought back to publication in the “Static Shock: The Rebirth of the Cool” miniseries, where he resembled his animated incarnation. When he was finally introduced into the DC Universe proper alongside the Teen Titans, he wore his “Static Shock” costume, which had become his more familiar incarnation at that point.
heres a story from NC Comicon that i forgot to share
so i got to talk to Sanford Greene who did a variant cover for Doom Patrol #1, i stopped by his table to have him sign my copy…and somehow he ended up telling me the story about the time he met Gerard for the first time, 2 years ago at a dinner hosted by DC Comics. he had no idea who Gerard was lol Gerard came up to him and introduced himself but Sanford thought he was just ‘this kid who was trying to break into comics’ lol so when Gerard was like ‘id love to work with you one day’ Sanford was like ‘oh yeah sure’ more or less thinking *who tf is this guy?* but also *ah hes trying so hard to network bless him im gonna be nice to him* lol so they exchanged business cards and then Gerard followed him on twitter so Sanford was like *im gonna follow him back to be polite* and then Sanford went on Gerard’s twitter and was like WTF!!!!???? realizing Gerard was kind of a big deal. and then they met again at Emerald City Comic Con, where the Young Animal imprint was announced and Sanford was like HOLY SHIT THIS GUY HAS HIS OWN IMPRINT AT DC?! THIS GUY IS WRITING DOOM PATROL?! and Gerard asked him if he was interested in doing a variant cover for Doom Patrol and Sanford was kind of embarrassed by the fact that he had no idea who Gerard was when he mentioned working together the first time…
and Sanford proceeded to tell me (basically what i already knew but its always nice to hear it from someone who is actually working with Gerard) that Gerard is the most humble person hes ever met, especially considering the fact that he IS a big deal, both in the music industry and in comics (proud mom mode *on*) but he just came up to him, not expecting that Sanford knew of him, not dropping names or mentioning MCR, or mentioning The Umbrella Academy, his Eisner…nothing!
i wish i could tell you this the way Sanford told me bc i honestly just stood there with the biggest smile on my face while Sanford was telling this story all with impersonating Gerard, and calling him ‘this kid’ who ‘lets be honest, always looks kinda like he just rolled out of bed and threw on whatever he could find on the floor’ lmao and then i told him that the first time i met Gerard i was a super hardcore MCR fan and i had this ‘idea’ about Gerard being this rockstar but then when i met him he was just this normal dude and he made it so easy to talk to him and yeah…just, no attitude, no pretentiousness, nothing. just genuine kindness and appreciation for the person he is talking to, whether its a fan, a fellow professional, etc. i just told Sanford ‘dude, thank you for sharing this, i mean, i already knew he was a sweet dude but hearing these kind of stories always make me even prouder to be a fan’ and Sanford said ‘yeah you absolutely should be, hes one of the nicest people ive ever met’ and i walked away clutching my heart bc THE FEELS
just wanted to share this since today is one of those ‘Gerard stories’ days :)
Gerard Way of My Chemical Romance and Umbrella Academy fame is working with DC Comics to create a new imprint called “Young Animals,” which are “comics for dangerous humans.”
Way will be writing, co-writing, and be leading the creative development for this new imprint. He will be writing a new Doom Patrol book, co-writing two new books called Cave Carson has a Cybernetic Eye and Mother Panic. Young Animals will also be producing a new take Shade the Changing Man with Shade the Changing Girl written by Cecil Castellucci, art by Marley Zarcone, and covers by Becky Cloonan.
This is probably one of the better ideas that DC has in a while as we are big fans of Way’s on both his comics and his music. Under Way’s vision, we could easily see a resurgence of the spirit of the early days of the Veritgo Imprint. We are also very excited to see the return of Flex Mentallo.
Could We See Static Shock In DC's Legends Of Tomorrow?
By Kit Simpson Browne
Now, for a superhero still best known for appearing in an early 2000s animated TV series, Static has done a surprisingly good job of remaining both culturally relevant and beloved by fans. That has a lot to do with his being brought into the DC comic book universe (after his original home, DC imprint Milestone, folded), but is perhaps more than anything else a response to the character - better known to his friends as Virgil Hawkins - being distinctly awesome (as well as representative of a several large, under-served sections of comic book readership).
With both a devoted fan-base and an already well-established back-story, then, could we someday see Virgil return to the screen? There have long been rumors of a live-action spin-off, or perhaps even a big screen adventure – but with so many DC shows already on TV, is that the most realistic option for Static?
Well, as it turns out…
Legends of Tomorrow’s Franz Drameh is Keen to See Static Turn Up in the Show
Specifically, when asked by ComicBook.com which superhero he’d like to see show up on Legends of Tomorrow, Drameh - who plays one half of Firestorm in the show - had this to say:
“Oh… Static Shock would be fun. Static Shock. I do like Static. Yeah, it’d be fun. Static would be cool.”
Which, on the one hand, might just suggest that it isn’t going to happen anytime soon (if it were, Drameh would almost certainly have been told not to mention it). On the other hand, however, the enthusiasm of cast members can prove influential - and it’s always possible that Drameh has heard rumblings of a future cameo (or perhaps even a live-action spin-off) and is just positioning himself accordingly.
Either way, though, it’s kind of awesome to note that Drameh is clearly enough of a comic-book geek himself to actually have an opinion about the merits of bringing Static to the screen - and if that enthusiasm ends up being mirrored by fans, it might not be too long before we get to see the hero return.
Along, of course, with the inevitable ‘shocking return’ headlines…
DC To Revive WildStorm Imprint, Curated By Warren Ellis
“Warren Ellis will return to DC, to work on some of the characters that made him a household name among comic book fans, as the curator of a new pop-up imprint called WildStorm.
WildStorm will debut mid-February 2017 with a regular monthly comic titled The Wild Storm, written by Ellis with art by Jon Davis-Hunt (Vertigo’s Clean Room). This ongoing series will reset the known WildStorm universe and introduce new iterations of WildStorm characters such as Grifter, Voodoo, The Engineer, Jenny Sparks and others…
“After long reflection, I couldn’t turn down the invitation to renovate the house that Jim Lee built, and refit its unique combination of cosmic paranoia and paramilitary conspiracy for the post-political space madness of the twenty-teens,” said Ellis. “Looking back to look forward…”
i want to get into other comic editorials besides marvel and dc, could you recommend me what are some good ones and what comics should i read?
Sure can! I’m not sure what kind of genres and characters you’re specifically into, so I’m gonna go for broad-spectrum stories here. , I highly recommend getting a Comixology account. It’s really well-organized, delivers your comics to whatever device you want to read them on, and makes it a lot easier to access work by smaller publishers. For real, just explore their browsing options and click on what looks interesting to you! That said:
Image Comics: Image is really coming into its own–I’m starting to hear people refer to a “Big Three” instead of a “Big Two” and while that’s sort of a hilariously backhanded insult towards the industry, it’s also exciting. Right now, Saga is one of the biggest series in comics, a fantastic space opera with amazing art and characters and imho, it deserves all the hype it gets. The Walking Dead is Image’s most famous book–I haven’t read it (zombies aren’t really my thing), but check it out if your'e so inclined. Sex Criminals has made a pretty huge splash with just 4 issues, so now is a great time to jump in. Some other popular currently-running series include: Chew, Alex +Ada, Pretty Deadly, Lazarus, Velvet, Fatale, East of West, Morning Glories, and Rat Queens. I’m not caught up on all of those (okay, I haven’t actually read East of West or Morning Glories yet but my friends love ‘em), but they’re all fairly roundly enjoyed. Some older/completed Image comics I’d recommend are: Phonogram, I Kill Giants, It Girl & The Atomics, Girls (haven’t read that one yet, but my friend liked it a lot), Nowhere Men (ditto), Mara, and The Pro. Image Expo revealed a lot of exciting new series in the comic year–I’m particularly excited for Ody-C, The Wicked and the Divine, Shutter, Bitch Planet, and 8house. Image is honestly fairly accessible as comic publishers go–just browse their website/comixology page/Wikipedia entry and look up what looks interesting!
IDW: IDW is mostly licensed stuff, but they put out Locke & Key, Parker, and The Rocketeer. A lot of their licensed stuff is pretty decent actually, so take a look and see if they do comics for any franchises you’re already into.
BOOM! Studios: The Adventure Time comics are all fantastic–they play around with side characters the show could never devote any real time to, pull in all kinds of cool webcomic talent and just have a whole lot of fun in a lot of different ways. I’m not into Regular Show, but I hear the comics are pretty good too. BOOM! also did Irredeemable and Incourruptible, which I’ve heard mixed things about but got enough buzz that you might want to check it out. CBGB was pretty cool too.
Dynamite: Dynamite has rebooted it’s Red Sonja span of comics recently, with Gail Simone at the helm–we’ve got everything now from Queen Sonja, to Tales of Red Sonja, to Lil’ Sonja. I’d recommend you start with the first issue of the revamp and go from there. Beyond that, there’s a lotta classic cheesecake at Dynamite, from Dejah Thoris to Vampirella, which, yes, is capital-P Problematic but I had a lot of affection for them as a kid looking for any women in comics, so I’ll toss them in here. :P. Oh, and American Flagg which I read a tiny bit of years ago. I honestly remember nothing of it but it’s fairly well known.
Abstract Studio: Abstract Studio is actually just Terry Moore’s own publishing company. Strangers in Paradise is his most famous work, a loooooong and complicated love story between Francine Peters, an all-American good girl and Katina Choovanski, a punky bad girl with a tough backstory. SiP is not perfect and probably ran past its expiration date but I totally love it and rec it wholeheartedly. Rachel Rising is Moore’s currently-running series and I urge everyone to check it out too because Moore is thinking of ending it due to financial concerns.
Top Shelf: Lotta good stuff at Top Shelf. Alan Moore has published some work here, most prominently From Hell. Blankets is here as well, probably one of those most well-known and accessible graphic novels around. I’d recommend Essex County, Alone Forever, Chester 5000, Owly, and March. Honestly, I’m seeing tons of stuff on the TS Comixology page that I’ve never heard of before but now really want to read!
Monkeybrain: Bandette is adorable and fun and also appropriate for all ages. I’ve heard really interesting things about High Crimes, Subatomic Party Girls and The Double Life of Miranda Turner.
Archie Comics: cough Afterlife With Archie cough
Fantagraphics: Fantagraphics is where you’re going to find Love and Rockets, one of the absolute pillars of the alternative comics world. They have done an amazing job of making 30+ years of work accessible to new readers–check out the Guide to L&R on their website. Fantagraphics stuff ranges from collections of older work like Nancy, Carl Banks’s Disney comics, and the old EC horror titles to weirder, more avant-garde stuff, so I highly recommend digging into their website on your own to see what you’re into. Some stuff I’d recommend: Hip Hop Family Tree, Meatcake, Wandering Son. I highly urge you to check out their stuff for yourself though–none of these publishers have a unified universe or voice the way DC and Marvel do, but Fantagraphics least of all.
Oni Press: Well, Scott Pilgrim of course. But also: Wet Moon, Salt Water Taffy, Hopeless Savages, and Queen & Country. Again, like Fantagraphics, there’s no unified voice here.
Slave Labor Graphics: If you’re looking to feed your inner goth kid (we’re talking the one who wears Tripp pants and listens to Good Charlotte specifically), you’ll find Nightmares and Fairytales, Gloomcookie, Johnny the Homicidal Maniac and Lenore here. They’ve…kind of peaked, tbh? And a lot of this work is out of print now (but pretty cheap if you buy it used on Amazon), or severely dated. But it’s still worth a look, I think.
Vertigo: Vertigo is technically a DC imprint, but I’m going to put it on here anyway as it’s really it’s own separate publisher, in terms of content. Vertigo has put out a lot of stone-cold classics over the years, and a lot of interesting little stuff that maybe didn’t take off the way Sandman did, but are still worth reading. I recommend: Fables, Sandman, Preacher, 100 Bullets, Animal Man, Doom Patrol, Y: The Last Man, Scalped, Pride of Baghdad, Cuba: My Revolution, My Faith in Frankie, Swamp Thing, Sweet Tooth, We3.
Dark Horse: Empowered. I love Empowered so much (though be warned that it’s basically softcore. BUT IT GETS AMAZING TRUST ME.) The Avatar: The Last Airbender comics are good, if you’re into that series. The Fifth Beatle got a lot of buzz this year. You’ll find all the Hellboy stuff here, and Sin City. Oh, and Blacksad, which is fantastic. That’s all I’m really familiar with–definitely look into Dark Horse on your own and see what piques your interest.
Whenever I’ve talked about a DC/Warner Bros. movie, I’ve always jokingly prefaced it with “from the studio that brought you Jonah Hex and Catwoman…” but I wanted to find out whether that was a fair assessment, so I decided to crunch some numbers, comparing the Rotten Tomatoes score of Marvel Studios’ entire motion picture output against the last two decades of Warner Bros. movies based on DC Comics.
[Full Disclosure: I am not a statistician, nor am I any kind of expert. I’m not even 100% certain I’ve calculated the averages properly, though that’s largely down to a sort-of general distrust of my own math skills. I checked everything with a calculator, often multiple times, but there may be errors. Sorry for that.]
Marvel’s movies are limited to movies actually produced by or with involvement from Marvel Studios themselves, and so doesn’t include films like The Amazing Spider-Man or Fox’s X-Men series which were not produced by Marvel Studios. It also doesn’t include Big Hero Six, which was produced by Disney but without involvement from Marvel Studios.
I pulled the list of DC movies from Wikipedia, opting to exclude movies based on DC licenses that weren’t produced or distributed by Warner Bros. in any way. This rather generously excludes The League of Extraordinary Gentlemen, which has a Rotten Tomatoes score of 17%. It would also have excluded Watchmen had 20th Century Fox actually pulled the trigger on making the movie when they had the license, but they didn’t. Whoops!
I chose to include A History of Violence, as it was produced by New Line Cinema who were merged into Warner Bros. in 2008. The film has an 87% score on Rotten Tomatoes, so that can only help WB’s case.
So. The numbers, then.
Despite a couple of critical stumbles with The Incredible Hulk and Thor: The Dark World, Marvel maintains a strong average of 81%.
Warner Bros., on the other hand, have an average score of 51% for their films released since 1996. That number drops to 44% if you exclude films based on DC imprints (Vertigo, Paradox, etc.), which critically fare a little stronger. Cast a more narrow net to films released since the formation of the MCU in 2008 and that average shifts just a little more - 49% for all DC films released since Iron-Man, 47% if you exclude the imprint-based films Watchmen and The Losers.
But maybe this is unfair. After all, Warner Bros. have been producing movies for much, munch longer than Marvel has, and this list excludes films like Superman and Tim Burton’s Batman. Films people love!
So what if we pull the numbers from as far back as Warner Bros.’ first in-house movie based on a DC Comics property? How does that look? Let’s take a look.
This list starts with the 1979 Superman and not, for example, the 1966 Batman movie starring Adam West because, according to Wikipedia at least, earlier films were not produced with the involvement of Warner Bros., and so I have opted to exclude them for the same reasons I excluded The League of Extraordinary Gentlemen earlier.
This hasn’t given the numbers the boost DC fans might have been hoping for. There’s a slight buoy thanks to the first two Superman and Batman movies, but it’s dragged down again by the low scores for Superman III and IV, as well as Supergirl - Warner Bros.’ worst-performing movie on this list - and the disappointing score for Batman Forever (which sucks for me - I actually rather like Forever). Simply put, half of the movies suck, and half don’t.
Adding these eight movies only bumps the average score up to 52%, or 47% excluding DC imprints.
What does this mean? Well, going by the numbers, Warner Bros.’ DC films are far more divisive than Marvel Studio’s output. Warner Bros. has a 1-in-2 chance of putting out a movie critics will hate, while Marvel’s has a 1-in-5 shot of pissing off critics. Mathematically speaking, Marvel is making movies that critics enjoy, and Warner Bros. is not.
There are a number of ways to interpret this data. Firstly, though the trailer for Wonder Woman looks fantastic, whether or not the film will be any good is a coin-flip. The numbers are not in WB’s favor, and while I really, really want Wonder Woman to be a great film, it’s not looking good. It looks even worse when you consider the average score of the DC Extended Universe films to date is 36%, meaning that under the current DC/WB regime Wonder Woman has a 1-in-3 chance of critical success. Gulp.
I’m sure some bugger out there is going to look at this post and see it as proof of some massive conspiracy against WB/DC, or that Marvel have somehow “bought” critics.
I don’t believe that to be the case. Remember, WB’s lowest critical scores come from films like Catwoman, Supergirl and Batman & Robin, all movies that predate the MCU by a significant amount. The scores for the three current DC Extended Universe films are bad, and point to a serious mismanagement of the DC brands within WB right now, but they’re not as bad as WB’s lowest period during the layte 90s/early 00s. The idea that there’s some kind of conspiracy also doesn’t explain the high score for The Dark Knight Rises (which was divisive even among fans of Nolan’s interpretation of the character) nor does it explain the fact that Man of Steel’s score is, mathematically speaking, not actually terrible. Man of Steel is a mediocre movie from a numbers perspective. Catwoman is objectively and statistically terrible.
Probably the best way to interpret this data, though, is this: Warner Bros. need a massive, massive course correction. What they are doing right now simply isn’t working. If you want my armchair analysis, they learned the wrong lessons from the success of The Dark Knight Trilogy and the failure of Green Lantern. They’ve also learned entirely the wrong lessons from everything Marvel have done over the last decade, and are scrambling to try to reproduce those results in as short a window as possible. They need a major, major regime change over there - Batman, Superman, the Joker, these should all be really easy characters to execute on and to make fun movies in at least the >60% range, but they’re not.
Marvel, on the other hand, has continually taken risks on characters people know next to nothing about - Iron-Man, Ant-Man, the Guardians of the Galaxy - or characters which may have perception issues among the broader public - Thor and Captain America come immediately to mind - and have knocked it out of the park with audiences and critics alike. A decade ago the general public probably couldn’t tell you Iron-Man’s real name, or the name of Thor’s hammer. Now they can. Why? Because Marvel have been very, very smart since day one.
Some additional numbers:
The lowest-scoring movie from either studio is Supergirl, with 7%.
The highest-scoring movies are The Dark Knight and Iron-Man, both tied for 94% (and both released in 2008).
The film most representative of Warner Bros.’ average score is Man of Steel. Its 55% score puts it closest to the studio’s 47-52% average.
Marvel’s most representative film is Ant-Man, whose 81% score matches Marvel’s average. Captain America: The First Avenger comes in a close second with 80%.
Marvel have never released more than two films a year, though that may be about to change. By contrast, Warner Bros. has that number beat - in 2005 they released five films based on DC Comics or its imprints.
Warner’s lowest-scoring movie, Supergirl, has an Audience Score of 26%. By contrast Marvel’s lowest-scorer, Thor: The Dark World has an Audience Score of 78%. [Edit: I wrote a follow-up post about Audience Scores here.]
That’s it! Again, I acknowledge I’m not an expert and it’s entirely possible I’ve royally screwed this all up, so I eagerly await someone else to come along and do this better. Cheers!
“Warner Bros’ recently launched digital series production unit, which encompasses short-form content from all divisions of the company, has unveiled its inaugural slate. Named Blue Ribbon Content, the unit, headed up by Sam Register, is charged with developing and producing primarily live-action series for digital platforms.
Its first projects include a new live-action Mortal Kombat series, which has been greenlighted, as well as a live-action Static Shock series in development, produced by Reginald Hudlin and a project from Akiva Goldsman …
Static Shock is based on the Static comic co-created by the late Dwayne McDuffie with co-writer Robert L. Washington III and artist John Paul Leon, which was originally published by the DC Comics imprint Milestone Comics and, later, by DC Comics. Milestone Media co-founder/comic book artist/TV producer Denys Cowan (the original Static Shock animated series) is collaborating with Hudlin on the new Static Shock.
The aforementioned animated version of Static Shock previously aired for four seasons during the Saturday morning Kids’ WB! programming block on The WB Network from 2000–2004.”
In the past few years a lot of people have asked me what comics they should read and what I read. Rather than trying to remember what I’m reading every time, I thought I’d make a masterlist of what I’m reading currently. Because we just had a reboot I’m starting over from scratch and will be adding comics as they come out. These are all post-Battleworld reboot comics.
Updated 3-25-2017: My backlog got to be too great and then a catastrophic memory failure wiped it out, so I’m starting afresh. Stay tuned!
BOOKS I’M NOT READING:
These comics may not be truly independent, but are either indy or not under the main Marvel/DC imprints.
These are comics that recently ended but were super-enjoyable!
Day Men (2014-2015): If you can pick up Day Men 1-8, it was a great indy comic, beautifully drawn, about vampires and the “day men” (mortal servants capable of going out in the daytime) who manage their daily business.
Figment and Figment 2 (2014-2016): A charming, pun-filled adventure through the imagination; clearly aimed at kids, but I thoroughly enjoyed it.
So, as you might know if you like to follow these sorts of things, a while back, David Goyer and I made a producing deal with Warner Brothers to develop a movie adaptation of Neil Gaiman’s SANDMAN. Neil himself came on as an executive producer, we hired the excellent screenwriter, Jack Thorne, and we started in on the ambitious task of adapting one of the most beloved and boundary-pushing titles in the world of comics. I was pleased with the progress we were making, even though we still had quite a ways to go.
Recently, as you also might know if you like to follow these sorts of things, the sorta “ownership” (for lack of a better term) of the Sandman material changed hands when Warner Brothers shifted the entire catalogue of Vertigo comics (an imprint of DC) to their subsidiary, New Line. And a few months ago, I came to realize that the folks at New Line and I just don’t see eye to eye on what makes Sandman special, and what a film adaptation could/should be. So unfortunately, I decided to remove myself from the project. I wish nothing but the best for the team moving forward.
I’d like to thank all the great people I’ve had the opportunity to work with on this one. I’ve had a blast with and learned a ton from David and Jack. Niija Kuykendall, Greg Silverman, and everyone at Warner Brothers have been fantastic, as have Geoff Johns and everyone at DC. And it’s been a particular privilege as well as a rocking good time getting to know Mr. Gaiman, whose generous insights and masterful work have certainly convinced me that the Lord of Dreams and the Prince of Stories are one and the same Endless pattern.
“Doom Patrol” #1 is finally upon us, courtesy of scribe Gerard Way and artist Nick Derington. With the debut issue also comes the launch of Way’s Young Animal imprint at DC Comics, where he, and a stable of inventive creators, aim to offer superhero storytelling like never before.
Appearing at this year’s Comic-Con International in San Diego, Way sat down with CBR’s Kiel Phegley to talk about his reimagining of “The World’s Strangest Heroes,” opening up about the origins of the comic, its legacy, and the overall creative approach of Young Animal.
The network is teaming with This Is the End duo Seth Rogen and Evan Goldberg and Breaking Bad’s Sam Catlin to adapt Vertigo’s Preacher, The Hollywood Reporter has learned. ’
Based on Garth Ennis and Steve Dillon’s 1990s comic series from DC Comics imprint Vertigo, Preacher revolves around Rev. Jesse Custer, a badass Texas preacher who, after losing his faith, learns that God has left heaven and forsaken his duties. Jesse becomes the only one who is able to track God down and hold him responsible for his abdication. Tulip O'Hare, Jesse’s beer-guzzling vampire ex-girlfriend, accompanies him on his quest for answers. But the story doesn’t end there: The Saint of Killers, an immortal killing machine and Western lone gunman type, is hot on their trail with his sights set on Jesse. (via)
Milestone Moment #9: The Saint Of Killers Kills God
If you’ve paid attention I worship “Preacher” like no other comic despise the few post you can find of it here in Comics Forever. It is truly a masterpiece and I dare to say an American classic in Graphic Novel literature. Since I want to highlight this moment I won’t go into specifics regarding the story before this moment. Maybe if you haven’t read it it will peak your curiosity and make you pick up the book to see what the hell I’m talking about here.
After shit went down in the last issue of the series God has returned to heaven to take command of his reign again. He finds a lone figure between him and his throne…
The Saint Of Killers. A man whose sole purpose it’s to be the death bringer of the Lord has finally come to collect a long overdue debt and to set things straight with the big man.
You see… The Saint Of Killers has figured out what God is all about. He is nothing more than an attention-whore. The Lord is a being willing to cause pain, destruction and death for no other reason than to see who would love Him. He sparked wars between the angels to find out who would stay on His side. He created a world full of humans who would fight in His name, just to see who loved Him more…
The Saint now knows all of this and he’s having none of it. He spits back at the lord, telling him how he has outgrown his creation. God out of his throne it’s not as powerful as when he’s sited on it. Fearing what it’s about to come, God acts like a spoiled child by remembering The Saint Of Killers who he’s threatening…
But the guns of The Saint Of Killers are blessed by The Devil and The former Angel Of Death. their ammo will ever run out, they will never misfire, never miss their mark, they will never wound, they will always kill… and God knows that.
Just one step away from salvation, and unkillable foe stands before him. God does his best to justify every action he has taken against every living being since the beginning of time. Facing certain death, God does the unthinkable. He begs for his life offering a bargain.
But The Saint Of Killers is tired of listening, he’s tired of the manipulations, he’s tired of the killing, he’s tired from the long journey that he can’t even remember when it started. In the end he says to the Lord exactly what he want’s just before putting a bullet between his eyes…
The Saint Of Killers shot God dead. Then he sat in God’s throne… and rested.
This great moment was brought to you by the insane mind of Garth Ennis. The beautiful art of Steve Dillon and you can read it in full in Preacher #66 by Vertigo an imprint of DC Comics.