Sequential Scholars

Sequential Scholars

@sequentialscholars.bsky.social

Academics reading and celebrating the style, substance, and sublimity of all kinds of comics. By scholars, for everyone. Led by @annapeppard.bsky.social & Dr. J. Andrew Deman.

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Sequential Scholars reposted

Our latest for @sequentialscholars.bsky.social introduces "Green Lantern/Green Arrow." #ComicsStudies #GreenLantern #Lanterns

Sequential Scholars@sequentialscholars.bsky.social

“Green Lantern/Green Arrow" by Dennis O'Neil with pencils by Neal Adams, comprises 14 issues of the regular “Green Lantern” series. Published from 1970-72, this storyline is highly ambitious, deeply flawed, and endlessly interesting, both on its own merits and as a piece of comics history. 1/10

One of the more interesting elements of Dungeon Crawler Carl is the manner in which it incorporates symmetrical media both within the story itself and within the community of fans that love it, thus taking its critique of media to a metatextual level. Metatextuality with #DungeonCrawlerCarl [1 of 3]

“Green Lantern/Green Arrow" by Dennis O'Neil with pencils by Neal Adams, comprises 14 issues of the regular “Green Lantern” series. Published from 1970-72, this storyline is highly ambitious, deeply flawed, and endlessly interesting, both on its own merits and as a piece of comics history. 1/10

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The series is also influential as a showcase for the art of Neal Adams, whose expressionistic realism & experimental layouts similarly epitomized an era where superhero comics agitated to expand beyond their reputation as simplistic fantasy stories for children and become seen as serious art. 9/10

Our forthcoming series of threads & videos on "Green Lantern/Green Arrow" will explore the highs & lows of this profound & problematic but definitely groundbreaking series, through close reading of individual issues & consideration of the series within various historical contexts. Stay tuned! 10/10

“Green Lantern/Green Arrow" by Dennis O'Neil with pencils by Neal Adams, comprises 14 issues of the regular “Green Lantern” series. Published from 1970-72, this storyline is highly ambitious, deeply flawed, and endlessly interesting, both on its own merits and as a piece of comics history. 1/10

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Yet the series’ determination to challenge prevailing assumptions about the types of stories superheroes can star in was deeply influential, inspiring other creators and participating in discourse around comics censorship; the Speedy addiction story was enabled by a revision of the Comics Code. 7/10

In addition, the series introduces John Stewart, who would go on to become one of DC Comics’ most prominent Black superheroes, as most recently showcased in HBO’s popular streaming series “Lanterns,” with a storyline that overtly references Stewart’s comic book debut. 8/10

“Green Lantern/Green Arrow" by Dennis O'Neil with pencils by Neal Adams, comprises 14 issues of the regular “Green Lantern” series. Published from 1970-72, this storyline is highly ambitious, deeply flawed, and endlessly interesting, both on its own merits and as a piece of comics history. 1/10

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In some cases, the series is highly effective in illustrating the historical shortcomings of superhero comics, including their tendency to tell stories about good and evil that ignore contemporary social issues or offload political messages into sometimes-obtuse fantastic metaphors. 5/10

In other cases, the series can be hamfisted, telling readers the moral rather than developing nuance. And its handling of racism & feminism can be dated & appropriative, as in a story where Green Arrow disguises himself as a Native American hero to inspire a tribe to challenge a land claim. 6/10

“Green Lantern/Green Arrow" by Dennis O'Neil with pencils by Neal Adams, comprises 14 issues of the regular “Green Lantern” series. Published from 1970-72, this storyline is highly ambitious, deeply flawed, and endlessly interesting, both on its own merits and as a piece of comics history. 1/10

View full thread

O’Neil, who graduated college with a literature degree followed by a stint in the Navy and jobs in journalism before becoming a comics writer, described the storyline as an attempt to consider, “What would happen if we put a super-hero in a real-life setting dealing with a real-life problem?” 3/10

This premise is epitomized by several subsequently iconic stories in the series, including Green Lantern #85, in which Green Arrow’s ward Speedy is revealed to be a heroin addict. Other issues address other hot button topics of the day, including racism, feminism, and environmentalism. 4/10

“Green Lantern/Green Arrow" by Dennis O'Neil with pencils by Neal Adams, comprises 14 issues of the regular “Green Lantern” series. Published from 1970-72, this storyline is highly ambitious, deeply flawed, and endlessly interesting, both on its own merits and as a piece of comics history. 1/10

Subsequently collected as “Green Lantern/Green Arrow: Hard-Travelling Heroes,” this storyline showcases a commitment to social relevance instigated by Green Arrow (Oliver Queen) compelling Green Lantern (Hal Jordan) to question his blind commitment to law & order. 2/10

Sequential Scholars reposted

I re-read all of Green Lantern/Green Arrow so you don't have to! This is going to be a fun series of threads about this wild ride of a comic. #Lanterns #GreenLantern #ComicsStudies

Sequential Scholars@sequentialscholars.bsky.social

Introducing our next unit! Drumroll please... It's #GreenLanternAndGreenArrow !

It is appropriate then that ensuring interest is necessary to the survival of Carl in DCC, which, as discussed in a previous thread, becomes a major metatextual theme that manifests throughout the series. LitRPGs with DCC [2 of 3].

Dungeon Crawler Carl is, perhaps inarguably, the biggest success story in the LitRPG genre, an emerging genre that integrates the modern cultural zeitgeist in compelling ways, some of which show interesting overlaps with comics history. Learn more about LitRPGs with #dungeoncrawlercarl [1 of 3]

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“Like the archive, the comics form retains that which cannot be reconciled to linear narrative—the excess that refuses cause-and-effect argument, the trace that threatens to unsettle the present's narrative of its own past (and thereby of itself).” Gardner on the Archival Nature of Comics [3 of 3]

TBT: In a story that is deeply engaged with the philosophy of death and dying, The Many Deaths of Laila Starr uses the personification of death in the form of Laila, as well as the relationships and conflicts she encounters, to develop its commentary on the subject. #lailastarr 1/12

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“Did that mean Laila Starr had her job back? Or did life resign itself to death and did Laila and Pranah set out to new beginnings on a beach somewhere in Goa? Perhaps such things are better left in closed boxes and set adrift out into the sea.” 11/12

TBT: In a story that is deeply engaged with the philosophy of death and dying, The Many Deaths of Laila Starr uses the personification of death in the form of Laila, as well as the relationships and conflicts she encounters, to develop its commentary on the subject. #lailastarr 1/12

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The ending is thus a little cryptic, but we might reconcile things by suggesting that Darius learns that death is valuable. Laila does as well, but it’s the value of life that she comes to understand and death is required for that value to exist. 9/12

A final piece of narration provides the book’s last words on the subject: “Who is to say exactly how things end? If there is one thing we have learned, it is that life’s endings are bereft of answers. Was Darius Shaw truly visited by death in his last days?” 10/12

TBT: In a story that is deeply engaged with the philosophy of death and dying, The Many Deaths of Laila Starr uses the personification of death in the form of Laila, as well as the relationships and conflicts she encounters, to develop its commentary on the subject. #lailastarr 1/12

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At the same time, the innate nature of Laila’s existence (a Goddess forced to live as a mortal) forces her to reconcile with her own mortality and, through it, the broader consequences of mortality in general. Darius does the same as he contemplates his life and the impact of a death-cure. 7/12

After befriending Darius over the course of his lifetime and portions of hers, we find their roles completely inverted: Laila begs him to use his invention to save his own life while Darius instead chooses to die. Each has learned the value of the other’s initial perspectives. 8/12

TBT: In a story that is deeply engaged with the philosophy of death and dying, The Many Deaths of Laila Starr uses the personification of death in the form of Laila, as well as the relationships and conflicts she encounters, to develop its commentary on the subject. #lailastarr 1/12

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Though seemingly chosen at random, however, the first death of Laila Starr coincides directly with the moment of birth of Darius Shah, the child destined to end death as a concept. The Goddess of Death, thinking practically, seeks to destroy him. 5/12

From there, Laila and Darius hold corresponding missions: Laila seeks to kill Darius in order to protect the concept of death (and her job with it) while Darius seeks to eliminate death (and Laila of course is death so they’re sort of trying to kill each other). 6/12

TBT: In a story that is deeply engaged with the philosophy of death and dying, The Many Deaths of Laila Starr uses the personification of death in the form of Laila, as well as the relationships and conflicts she encounters, to develop its commentary on the subject. #lailastarr 1/12

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Her embodiment, of course, directly impacts the symbolism of the story. Laila is young, beautiful, has long, wild hair, and a slender, unimposing frame. Like Gaiman’s Death, Laila is antithetical to the ominous and foreboding personifications of death that we often see. 4/12

TBT: In a story that is deeply engaged with the philosophy of death and dying, The Many Deaths of Laila Starr uses the personification of death in the form of Laila, as well as the relationships and conflicts she encounters, to develop its commentary on the subject. #lailastarr 1/12

Laila Starr is the vessel for the Goddess of Death, dismissed from her post in light of a prophecy that promises the end of dying, thanks to the coming of a child, Darius, who will eliminate the concept of death altogether. 2/12

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Frieren, like all of us, is on a journey in which appreciating and understanding the past can produce self-knowledge ideally before we reach the realm of the dead. It’s a clear and cleverly articulated metaphor for our individual journeys toward death and the need to appreciate life in contrast. 6/7

In all facets, Frieren is journeying outward for the purposes of journeying inward and Yamada and Abe draw on rich fantasy traditions in order to build a world (and an infrastructure even) that can ably support that progression. 7/7

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This is important for portraying the reformative potential of exile. By disentangling the hero from the trappings of comfortable society, they can achieve self-knowledge. It’s a sort of stripping down of the accoutrements of identity in order to reveal the previously obfuscated central core. 4/7

Thirdly, in a very supernatural element, Frieren is heading toward a region known as Aureole, the “Land Where Souls Rest.”Frieren seeks this out in order to be reunited with Himmel – thus she is quite literally chasing his ghost. 5/7

The path that Frieren and company follow operates on the symbolic level in 3 key ways. First and foremost, the journey retraces the steps of the original party of heroes thus connecting the present to the past in a meaningful process of recontextualization. 2/7

Secondly, the journey represents a movement from the centre of Frieren’s fictional universe to the increasingly rugged and dangerous outskirts, a staple feature of the Kishu ryuritan structure discussed in a previous thread. 3/7

In “Archives, Collectors, and the New Media Work of Comics,” Jared Gardner effectively argues that comics, comics culture, and comics readers are all, to some degree, archival in nature. Gardner on the Archival Nature of Comics [1 of 3] #comics #archives