Tagged: Green Arrow

The Law Is A Ass

BOB INGERSOLL: THE LAW IS A ASS #304 GREEN ARROW MAKES HIS POINT– RIGHT BETWEEN THE EYES

prometheus_1_superRepeat after me, as I repeat for the I don’t know how manyth time: Murder is bad for children and other living things.

Murderers are also bad.

So you can just imagine how I feel about murderers who murder.

Which brings us to the conclusion of Justice League: Cry for Justice. In issue 7  of said mini-series, the super-villain Prometheus– actually the second of three super-villains to use that name in the DC Universe, don’t ask – has been cornered by the JLA. He told them that he has hidden devices in Star City and the other home cities of the other JLA members which will teleport those cities through time and space. But he promised to tell the heroes where the devices were hidden, if they let him escape.

Green Arrow refused to negotiate, so Prometheus activated the devices; the one in Star City first. The device in Star City goes off first. Unfortunately, it malfunctioned and didn’t teleport Star City. Instead it demolished much of the city and killed ninety thousand people. While the other devices were about do the same to the other heroes’ home cities. At this point, Green Arrow relented and the JLA agreed to let Prometheus go in return for him telling them where the devices are and how to deactivate them.

Now in my day, if you’ll allow me a slight digression into Cranky-Old-Man mode, the heroes wouldn’t have agreed to Prometheus’ demands. They would have apprehended him and figured out a way to keep his devices from doing any damage at all. That’s why we called them “heroes,” they were that good.

But nowadays, in a comics world which has been thoroughly corrupted by the excesses of the destruction porn which continues to generate big box office through the oeuvre of directors Michael Bay, Roland Emmerich, Zack Snyder, and anyone else who thinks computer graphics should be used in place of things such as story, plot, or characterization, the heroes can’t be heroes. They had to stand by helplessly and watch the destruction porn destruction of Star City and let Prometheus go. Okay, they did stop the other devices. But not before Star City was partially destroyed and ninety thousand people died. And not before they let Prometheus get away.

Let Prometheus get away, that is, until the final page of Justice League: Cry for Justice # 7. That’s when Green Arrow tracked Prometheus down, put an arrow through his eye – How Werthamesque – and said, “Justice.”

Green Arrow didn’t act as a hero, he acted as an executioner. He acted expediently. And, as Tony Isabella has said, “expedience isn’t heroism.”

A quick aside: I was amused by the description of this scene in Wikipedia’s entry on Prometheus, that the villain is “apparently killed by Green Arrow,” because, let’s face it, this is a DC Comics story, where death has about as much meaning as a Kim Kardashian’s wedding vows.

Cut to some days in the future when, in Green Arrow and Black Canary # 32, Green Arrow acknowledged that he crossed a line and turned himself into the police. A speedy trial followed later that same issue. I said it was speedy, didn’t I? I just didn’t realize that it would be speedier than Speedy Alka-Seltzer  and Speedy Gonzales combined. It wasn’t much of a trial, given that Green Arrow freely admitted his act and, the trial moved speedily to the verdict.

Where the jury found Green Arrow not guilty.

Did I say, “not guilty?” Well, no, I didn’t. The foreman of the jury said that. Yes, even though Green Arrow freely admitted his guilt in open court, the jury found him not guilty.

It’s called jury nullification and it happens from time to time in the criminal justice system, or, if you want to believe the trials that David E. Kelley used to show us in The Practice, it happens nearly every freaking week.

Jury nullification happens when the jury is aware that the defendant violated the law, but, for some reason, sides with the defendant and doesn’t want to convict. In this particular trial, it was probably because Green Arrow did what the jurors wished they could have done, brought ultimate justice – read vengeance – to Prometheus for the ninety thousand Star Citizens who he killed. The jury liked what Green Arrow did, even if it was against the law, so it found him not guilty.

They judge presiding over the trial wasn’t as forgiving as the jury. He decided that the verdict notwithstanding, Green Arrow deserved to be punished. So the judge ordered Green Arrow exiled from Star City.

Hey, Your Honor, what was so difficult to understand about the words “Not guilty.” It couldn’t have been the “guilty” part, you judges hear that word all the time. It must have been the word, “not.” That’s the one you’re not familiar with.

So let me explain it to you. “Not guilty” means Green Arrow wasn’t convicted. He has to be set free. It also means the Constitution of the United States forbids you from punishing him.

Look it up, it’s in the Fourteenth Amendment. You know the one that says you can’t deprive a person of “life, liberty, or property, without due process of law.” It’s the one that says, if a person is found not guilty by a jury of his peers, you can’t punish him anyway.

Oh, it’s also in the Eight Amendment, the one that forbids cruel and unusual punishment. You know like punishing a person who was found not guilty by exiling him.

And, for good measure, it’s also part of the Privileges and Immunities Clause of the United States Constitution, which the Supreme Court held gives citizens the right to freedom of movement as far back as 1823 in Paul v. Virginia, when the Court wrote that the Privileges and Immunity Clause gives citizens “ the right of free ingress into other States, and egress from them.”  So under this provision, Your Honor, you couldn’t have barred Green Arrow from traveling in your state or city without due process. Maybe, if he had been found guilty, you could have. But he wasn’t, so you can’t.

Am I getting through to you?

I mean, justice is supposed to be blind, not brain dead.

Dennis O’Neil: SHIELD, Arrow, and Superstuff

Both prime time comic-book based television series had their season finales this week, a day or two after I write this, and so any commentary on them might be premature. I mean, maybe some humungous game changer is in the offing, some gobsmacking surprise that will leave us gasping for breath, numbed and awed by the storytelling splendor we have just witnessed.

Or maybe not.

The shows I refer to are, of course, Marvels Agents of S.H.I.E.L.D. and Arrow, and although they are, as noted above, comics-derived, they aren’t two heads of the same critter. I think that Arrow is the more… well – I’m lacking precise terminology here, so let’s call Arrow the more “comicbooky” of the two. It is all about superheroes, comics’ prime export: one such hero in particular the Arrow of the show’s title, who wears a costume and has a double identity and has tricks up his sleeve – his quiver? – that might make an Olympic archer seek another sport. And over the months he’s acquired some friends who might qualify as superheroes and some enemies that might qualify as supervillains. SHIELD, on the other hand, is a hybrid, a series that occurs in a world where superheroes exist, but which is not about superheroes per se. (And yes, o astute reader, I did exile a bunch of periods from the show’s name. Sue me.) The SHIELDers aren’t super themselves, but they’ve got some supers in their Rolodexes.

I mentioned game changers a couple of paragraphs ago. Both Arrow and SHIELD have already changed the game a bit. SHIELD, as part of a nifty crossover with a movie, has gone from being a CIA/NSA-type spook organization to being a bunch of noble folk running from the authority figures, outlawed by the baddies’s takeover of whatever agency controls SHIELD. (I confess that I’ve never quite understood who signs SHIELD paychecks. A U.S. government honcho? Somebody as the United Nations? A scientologist?)

Some of you may want to read political commentary into SHIELD’s status change. Be my guest.

Arrow’s game has also changed, on a smaller scale than SHIELD’s, but kind of drastically nonetheless. The storyline replicated some comic book stuff from years – nay, decades – back. To wit: bow-twanging hero Oliver Queen loses his fortune. He’s no longer a member of the one percent. No more rich kid. I don’t know why the television guys made the change and, after all these years, I’m not sure why we comic bookers did, either. Maybe so our archer would be less like Batman/Bruce Wayne. Maybe to give him some (fictitious) street cred. Or maybe we just weren’t all that fond of mansion dwellers. Or… all of the above?

To end on a what-the-hell-difference-does-that-make note: In the comics, the Arrow was the Green Arrow, as many of you know. I approve of the renaming. I mean, why green?

 

Marc Alan Fishman: Injustice and the Marvel Continuity Crisis

Fishman Art 140111Over the holidays I purchased for myself the Injustice: Gods Among Us video game. While I freely admit I have little to no real prowess with fighting games, I am invariably drawn to them. Compared to other types of video games, fighters allow users to enjoy a gaming session that’s like a great one-night stand; get in, get your business done, reap the rewards, and leave before it gets complicated.

The game is built on the Elseworlds principle wherein we explore the mighty DCU through the lens of yet-another alternative dimension where a slight change in the continuity results in a completely new world to explore. In Injustice, Superman is duped into killing Lois by the Joker, who adds a delightfully evil icing to his cake of cacophony by nuking Metropolis. Dead girlfriend (carrying his super scion to boot) plus nuked hometown equals Superman deciding he’s done being a reactionary hero. Cue the totalitarian state, and the necessary rebellion lead by Batman. Add in the needed Kryptonian Super Pill to balance the whole “how do you let Green Arrow fight Black Adam and not get pummeled into slime” problem and you have a damned enjoyable fracas.

I made my way through the story mode in a manner of a few nights. It was a fantastic little tale. As you may tell, it got me thinking. Why is it that DC always seems to flourish under the Elseworld concept where Marvel fails?

I assume some of you immediately get what I’m talking about. Others may be cackling at their screens “Show your work, nerdlinger!” Allow me to make my point as clearly as I can, as quickly as I can.

Here we go: At DC, Red Son. Kingdom Come. The Dark Knight Returns. The Nail. The Animated DC “Beyond” Universe.

At Marvel: 1602.

Wouldn’t it be awesome if I just stopped my article right there? Well, while I’d like to be that lazy, I shan’t be. DC seemingly lends itself to the remix better than Marvel by more than a handful of examples. To be honest, I’m not sure exactly why. It’s not like Marvel is devoid of DC analogs (and DC to Marvel, etc.). Both companies have employed more than a fair share of amazing talent to boot. But there must be something that makes DC more suited to a change of clothing more than the merry mouse-killers at Marvel.

My knee-jerk reaction is to equate DC characters as being more mythically malleable. Because they have clearly defined backstories, costuming, and personality traits, it’s much easier to simply pick one, change it and let the fun fly. Superman’s rocket lands in Russia? Boom, story changed, and a new universe is easily defined. Because the DCU is so easily reshaped while still being clearly itself, Elseworlds are amazingly easy to form, play in, and move on.

It helps that at the basic origin levels of the main players, DC is much freer to shift. Captain America will always be defined by World War II, the Punisher to Vietnam (though they’ve attempted and failed to retcon that a time or two). the X-men to civil rights. Batman, Superman, Green Lantern and their ilk are all tied only to mythologies. Bruce’s parents can get shot at any point from the industrial revolution on. Abin Sur could crash yesterday, if he needed to.

No better argument could be made than through the multitude of mediain which each have dabbled. Marvel has proven that through continuity, they will shine. Their movie-verse has bled into the teevee, and Mickey has never been stronger … or richer. In contrast, DC’s best movies and TV shows have all existed within their own confines, yet somehow continue to reap monetary rewards.

The animated DCU itself was a Bruce Timm / Paul Dini behemoth that somehow existed in one universe, but DC was able to create whole new strains of life in their Teen Titans, Legion of Super-Heroes, and Batman: The Brave and the Bold cartoons without missing a beat. While Marvel spawned a few gems in their own animated right, none hold a candle in comparison. Anyone here watching Hulk: Agents of S.M.A.S.H.? Didn’t think so.

At the end of the day (on our Earth, at least), DC summarily allows itself infinite worlds with which to create its identity. Because of this, jaunts like Injustice become instant classics by allowing creators to riff on a theme without being locked into the ramifications of exhaustive continuity. For whatever the reasons are, Marvel forever will have a harder time to match their doppelgänger with this ease. While they cry into their pile of movie money, I think they’ll land on their feet. In the mean time, I’ll enjoy the next Earth to splinter off… in hopes that it will be finally be the one that makes me forget the New52.

SUNDAY: John Ostrander

MONDAY: Mindy Newell

TUESDAY MORNING: Jen Krueger

 

REVIEW: Batman: The Brave and the Bold Season One

BatmanBraveBold_S1_1shtBatman in media has often been a victim of budgets and a fickle public’s tastes. His success or failure has also impacted the comic book incarnation. For example, after the camp live-action series crashed in 1968, the comic sales plummeted, freeing editor Julie Schwartz to take things back to the beginning and reinvent the gothic look and feel which evolved into the 1980s’ grim and gritty comics. Similarly, after a successive series of dark, moody and brilliantly execute animated series, it was most definitely time for something fresh.

Along came Batman: The Brave and the Bold, a bright, colorful, action-packed series that was a sheer delight to watch. This was a Caped Crusader who worked well with others, didn’t brood a lot but took his job far more seriously than his costumed companions. He operated in a universe where heroes and villains from across the DC Universe operated, letting animators stick in brilliant cameos and actually reinvent some of the characters most in need of a personality. Among the latter was the bearded blowhard Aquaman, ready to tell a fish story, naming the adventure with an ego-centric flourish.

Warner Archive has done us all a favor by collecting the 26-episode fist season and putting it all on two Blu-ray discs for an affordable price. The premise often involved a pre-credit sequence as the Gotham Guardian finished a case with one hero before moving on to another escapade with another. As with eponymous comic it was based on, some characters reoccurred more than others thanks to their popularity such as Green Arrow, whose rivalry with Batman for gear and gadgets made for nice humor. The current incarnation of Blue Beetle was seen as an amateur in need for tutelage and we could see him grow in confidence across the run.

BBB-PartyClearly the writers, directors, animators, and voice cast had a marvelous time and it came through with every episode. The character designs came from across DC Comics’ decades long run so Black Canary look as Carmine Infantino first drew her in the 1940s while Plastic Man was at his loopiest. It was refreshing to see the JSA heroes fighting as veterans (notably the pugilistic cracks from Wildcat) while long-simmering character bits such as those between Batman and his wards rang true.

BBB-Batmite LivingRoomA standout episode was the musical “Mayhem of the Music Meister!”, with the incredibly talented Neil Patrick Harris voicing  the title villain. And like so many other installments, this one featured not just one partner but a small army including Green Arrow, Aquaman, and. Black Canary.

Given the Earth-3 villains now running amuck in Forever Evil, it’s fun to see their animated counterparts in the two-parter that closed out the first season — “Deep Cover for Batman!” and “Game Over for Owlman!”.

By some chance you missed this when it aired on the Cartoon Network, or you want a break from the sturm und drang of the current New 52, this is a treat you want.

Watch “An Awkward Justice League Thanksgiving”

It’s Thanksgiving at the Justice League of America household and things are just as awkward for them as they might be for your family. Join Superman, Batman, Wonder Woman, Green Lantern, and more as they give thanks. Via the Nerdist: http://www.nerdist.com

Written by Joseph M Petrick and Andrew Bowser
Directed by Andrew Bowser

Cast:
Wonder Woman: Valerie Perez
Batman: James Mastraieni
Superman: Ryan Stanger
Aquaman: Steve Szlaga
Green Lantern: William Sterling
The Flash: Steven Meissner
Raven: Celia Sutton
Ms Marvel: Olivia Taylor Dudley
Green Arrow: Bradford Jackson
Robin: Jesse McKeil
Martian Manhunter: Charlie Sanders

Wonder Woman Cosplay Courtesy of Valerie Perez
Superman Cosplay Courtesy of William Sterling
Batman Cosplay Courtesy of Sam Schmucker
Aquaman Cosplay Courtesy of Christopher Cho
Green Lantern Cosplay Courtesy of Thomas Parham
Green Arrow Cosplay Courtesy of Sam McClellan
Flash Cosplay Courtesy of Steven Meissner
Robin Cosplay Courtesy of Kelly Mark
Raven Cosplay Courtesy of Celia Sutton
Ms. Marvel Cosplay Courtesy of Mandie Bettencourt

Dennis O’Neil: Should Superheroes Booze It Up?

oneil-art-131113-150x140-6046071So there they were on the small screen, Oliver Queen and his main man, knocking back vodka shots and there I was, riding the couch and being maybe a bit befuddled, remembering that an MD once told me that vodka was the alcoholic’s libation of choice because it didn’t have much telltale odor. (As you lurch into the china cabinet, mom thinks you’re having a little inner ear problem.)

Ollie Queen and John Diggle were drinking vodka.

Of course, plenty of people devoid of drinking problems know the taste of vodka and scotch and brandy and absinthe and beer and the rest of the barman’s wares, and booze has been a part of civilized culture for millennia, even part of religious ritual. But I have a question for which I don’t have an answer and its this: Should heroes drink?

Consider: heroes are, among other things, role models and they appear as such in the fiction of everyone from Ayn Rand to Aesop. We seek other humans to admire – ask Evolution why – and that search leads us to heroes, both fictional and the real life versions: Athletes and musicians and actors who perhaps acquire a bit of the mystique of the stalwarts they portray. (And so life imitates art imitating and amplifying life and does anyone have a headache yet?) Our ad men know this, which is why they write checks to celebrities willing to smile at the camera and just love the living heck out of a product that you, yourself, can buy and thus, in some tiny way, emulate the objects of your admiration. It’s an old ploy and it must work because they keep doing it. Should they do it to promote alcohol? Or, more insidiously, should boozing be promoted outside advertisements by showing the good guys doing it?

If there’s a line to be drawn, I don’t know where it is.

One of the problems with alcohol is that when you take that first sip, you don’t know if every subsequent sip will be taken only on holidays in extreme moderation, or if someday you’ll find yourself puking in a gutter.

We know, from our nation’s horribly failed experiment with prohibition, and our more recent disastrous “war on drugs” that banning the citizenry’s recreational intoxicants is not wise. And there’s the matter of that pesky First Amendment, which, in effect, forbids censorship of anything spoken or written and surely that includes the words and actions of televised performers.

But to persuade some bonny young person that the gateway to sophistication, wit, and devastating attractiveness is found inside a bottle is to tell a seductive and potentially ruinous lie. Some will content themselves with that taste of holiday wine, sure, but others will find their way to the gutter.

In the end, I guess, creators must decide for themselves where the danger begins – with booze and tobacco and drugs and, hell, even with certain combat techniques. Sometimes, storytelling can be a bitch.

THURSDAY AFTERNOON: The Tweaks!

FRIDAY MORNING: Martha Thomases!

 

DENNIS O’NEIL: The Slings of Arrow

O'Neil Art 131003Sauntering through Digitalville, sipping news and trivia like a hummingbird sipping nectar from a flower, looking for nothing in particular, except maybe an idea for something to write about. Anything in the comic book line?

Ah. Here’s a news item (if you can call this kind of stuff “news”) informing us that in the coming season of The CW’s Arrow, there will be more superpowers, including a three-episode arc featuring The Flash, who is certainly one of DC Comics’ mightier superguys – not as powerful as big daddy Superman, but way above, say, The Atom. And there will also be more costumed characters. Will these be equal to The Flash, or closer to the series’ title character, whom I’ve always considered a human-scaled guy, as opposed to a demigod? (And if you want to lose the “demi” how can I stop you?) Or maybe they’ll up Green Arrow’s power quotient – have him stand near a chemical explosion, maybe, and then…I don’t know – use his bow to shatter Jupiter?

And yeah, yeah, I know I referred to the character as Green Arrow instead of the name the video folk prefer, just plain “Arrow.” Well, hey, I knew him when.

I guess I’ll be parking myself in front of the screen on Wednesday nights at eight and watch the questions asked above get answered over the next several months. I may not like the answers, but if I did, the storytellers might not be doing their jobs, which involve engaging a certain demographic, My children are just barely young enough to be part of said demographic. I am way north of it. I am not (Green) Arrow’s audience and so my preferences and quibbles are relevant only to me, and maybe long-suffering Marifran, who has to listen to me express them.

The Arrow story was what I found in Digitalville this morning. This afternoon, it got ugly. Another comic book-related story, the kind we’d rather not see.

It apparently originated at New York City’s CBS outlet, and reported a comic book artist’s loss of 30 years’ work. The artist is my old colleague, Neal Adams. Though I’m not clear on details, it seems that Neal lost the art in a taxicab. I can’t begin to estimate the financial loss Neal has incurred, and bad as that is, the psychological loss might be greater. All those hours of thought and effort and inspiration, hunched over a drawing board, and the sense of achievement and satisfaction manifest in the work…

There is hope. The loss is recent and in the video clip that communicated the story Neal hopes that his portfolios will be returned. So do I.

There is a reward. Somebody claim it, please.

THURSDAY AFTERNOON: The Tweeks!

FRIDAY MORNING: Martha Thomases

 

 

Batman: The Brave and the Bold to be feted at The Paley Center

comiccon_braveboldWarner Archive Collection and The Paley Center for Media, in conjunction with New York Comic Con, proudly present a special event celebrating Warner Archive’s upcoming Blu-ray™ release of Batman: The Brave And The Bold on Friday, October 11 at 7:00 pm. The popular animated television series will be celebrated with an episodic screening and a lively panel discussion featuring Diedrich Bader, the voice of Batman, at The Paley Center for Media in New York City (25 West 52nd Street).

Extremely popular on Cartoon Network, Batman: The Brave And The Bold teams the Dark Knight with some of DC Comics’ favorite and more eclectic heroes, including the Blue Beetle, Plastic Man, Green Lantern, Kamandi, Doctor Fate, Jonah Hex, Black Canary, Green Arrow, Mister Miracle and The Atom. The combinations create a perfect mesh of fast-paced action and humor for the first season, which spans 26 episodes.

Batman: The Brave And The Bold is Warner Archive Collection’s first-ever animated release on Blu-ray™ disc. Anticipated street date is early November 2013.

Fans attending the October 11 event will have the opportunity to watch an episode and select clips of Batman: The Brave And The Bold, and hear from a distinguished panel that will include Bader, producer James Tucker, 8-time Emmy Award-winning dialogue director Andrea Romano, and Warner Archive podcasters Matt Patterson and DW Ferranti. Moderator Gary Miereanu might even have some unique prizes waiting for a few lucky audience members.

A limited number of free tickets are available for the general public. Fans wishing to receive free tickets to the New York event on must RSVP via email to BatmanBATB@gmail.com.

The body of all fan RSVP emails MUST include the following:

  • Name of the entrant
  • A valid email address
  • The name of the media outlet/website by which the entrant learned of the screening

Tickets will be distributed on a “first come, first served” basis, and fans will be notified via email.

REVIEW: Arrow The Complete First Season

Arrow Season OneWhen originally conceived by editor Mort Weisinger, Green Arrow was merely a pale imitation of Batman, a stigma that wasn’t lifted until Bob Haney and Neal Adams revamped him more than twenty years later. As a result, his background and origins were largely static until the Green Arrow Year One miniseries where writer Andy Diggle posited that Oliver Queen wasn’t entirely alone on the island where he washed ashore after a boating accident. It was this fairly late revisionist history that appears to have become the new template as it continues to be used in the New 52 era and became the foundation for the CW smash hit Arrow.

Oddly, Green Arrow arrived on prime time first in Smallville (a tangential nod to Weisinger, who also guided the Teen of Steel’s adventures for the first few decades) and where Justin Hartley was a nice fit for that show, he was a little too pretty for this new take on the vigilante. The new show, returning for its second season in a few weeks, totally ignored all the mythology established in the other series and is forging a new path that is also designed to create a television universe as witnessed by the backdoor pilot for a Flash spinoff coming in November. And whereas Smallville started with the basic concepts introduced by Jerry Siegel back in the 1940s, it rapidly veered onto an original path to accommodate modern day audiences and an aging cast. By the end, the show barely resembled the source material.

Over the course of 23 episodes, Arrow started vaguely near the source material and continued to chart its own course further and further away. As a result, you can’t really compare the two as the new series now has no resemblance to the comic. That said, it makes for compelling television watching thanks to a strong writing staff anchored by Marc Guggenheim who has one foot in each world. He was aided by Greg Berlanti and Andrew Kreisberg, no slouches at television production although Kriesberg’s run as GA writer didn’t quite work.

Oliver Queen (Stephen Amell) was a shallow, stereotypical rich boy, playing fast and loose with women, living the highlife and refusing to accept the coming responsibilities of adulthood. Then came the disastrous boat accident where he watched his father take his own life to save Oliver’s and in so doing, passed on a book containing the names of sinners in Starling City. After a series of escapades that forged him from callow youth to super-hero, Queen has returned to his hometown to mete out justice.  His mother Moira (Susanna Thompson and sister Thea (Willa Holland), nicknamed Speedy; are delighted to see him but aren’t sure what to make of the man they barely recognize. Similarly, his lover, Laurel Lance (Katie Cassidy);, has to forgive him for cheating on her with her own sister, who also perished on the boat. Then there’s his best friend Tommy Merlyn (Colin Donnell), who has taken up his place in Laurel’s heart and has daddy issues of his own.

Arrow CastAn appealing cast with dark undertones makes this the quintessential CW show and a fun look at super-heroics. Queen’s journey is twice-told, first as the returning survivor turned vigilante and also through flashbacks as we watch him learn how to fight, think, and accept responsibility for one’s actions.

Dogging his heels is Laurel’s father, the nearly alcoholic Quentin (Paul Blackthorne), who also hates Oliver for the past and then there’s Tommy’s father (John Barrowman), who is a darker image of the green hooded hero and just as fast but deadlier.

Add in Queen’s bodyguard John Diggle (David Ramsey; yes, named after the writer), Felicity Smoak (the hot Emily Bett Rickards; lifted from Fury of Firestorm of all places), and Roy Harper (Colton Haynes), you have numerous touches of the DC Universe present, elements to keep the pot stirring. The season also saw the mobster daughter turned vigilante Helena Bertinelli (Jessica De Gouw) and in a nod to the Mike Grell era, Shado (Celinas Jade) plus Deathstroke/Slade Wilson (Manu Bennett).

Week by week, we saw the soap opera antics of the civilian cast although, as the season passed, the civilian and costumed worlds grew closer until they formed a Venn diagram of where the trouble in Starling City truly lay. Names were crossed off and the law collected their share of criminals. But something was festering deeper, underneath the city and Queen had to piece the clues together before the Glades, a dangerous and poor section of the city was about to be destroyed. Friendships were formed or betrayed, alliances formed and perceptions altered. By the final episode, it was clear that the city needed a champion and Queen was the man fate had selected. Thankfully, he knew the loner approach wouldn’t work and has been forming a team that may be all that stands between a brighter future or a bleak outcome.

arrow-olicityThe box set comes with four Blu-ray discs and five DVDs along with codes for the Ultraviolet edition of the first season. The high def transfers are clean, crisp, and reproduce the darker tones of the series quite nicely. An episode guide is a handy touch.

As for extra, there are a handful that are more middle-of-the-road than anything special. You begin with a bunch of Unaired Scenes; the behind-the-scenes Arrow Comes Alive! (29:35) with cast and crew gushing over the creation process; Arrow: Fight School/Stunt School (18:53), shows how important the action and stunts sequences are plus how several were accomplished.

DC’s chief creative officer Geoff Johns hosts the 2013 Paleyfest (27:26) event where the Arrow: Cast and Creative Team talk about how they lifted elements from the source material and greater DCU along with how they adapted to fan buzz and turned Felicity from one-shot into a welcome regular; and, finally, there’s a brief Gag Reel (2:26).