One minor thing in comics I’ve been digging in the past couple years is the “This Year in _____” pages that come out of the first issue. We haven’t had too many of them, but they’re pretty memorable when we do get them. For instance, Batman and Robin #1 featured a final page that depicted such things as Damian leaving in a huff to work on his own, Red Hood with a new sidekick, Batman and Batwoman fighting it out while Bruce Wayne Batman rises from the Lazarus Pit and a foreboding image of Doctor Hurt holding up the keys to Wayne Manor. All of these happened, as should be expected.

It’s probably one of the coolest concepts Geoff Johns has brought to the table in recent years and I say that knowing full well about his space cat that pukes acid blood powered by hate. When you start out a new series, it’s tough as is. Even if you have big plans several issues down the line, you have to win over the reader with both the first story and – more importantly – the contents of the first issue. This is more of a pitfall of Marvel, as their series tend to get cut to pieces by the fifth or sixth issue. Sorry, Jeff Parker. I think the teaser pages could really help some comics succeed in the long run. DC gave Magog a full twelve issues before finally cancelling it. It wouldn’t have hurt to get Giffen’s opinion on four developments planned that could have been exciting enough to bring up. Like a panel of Magog… uh… teaming up with the Shield? And the time he… um… Wait, I got this one. When he… Did I mention the Shield team-up? Okay, as much as I liked the series, maybe Magog isn’t the best example, but you know what I mean.

As far as I know, there have been four instances of the teaser pages, but feel free to correct me. There’s the aforementioned Batman and Robin #1 as well as Justice Society of America #1. I don’t read JSA, so I’m not going to talk about it in-depth, but I’ll touch on a little something later. The other two come from the same book, Booster Gold. Now that it’s moved to its latest creative team, I think now’s as safe a time as any to look back at what we were promised by Geoff Johns and Jeff Katz. Here we go, looking at the past about the future that’s become the past about a new future of a character from the past who came from the future. Sorry, what were we talking about?

This page comes from the end of Booster Gold #1.

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A couple months back, I reviewed Infinite Crisis in “Graphic Audio” form. Graphic Audio is a company that takes books and turns them into jacked up radio plays. I didn’t know what to expect, but came out entertained. Luckily, there was more fuel for my ears in the form of Graphic Audio’s take on Greg Cox’s novel adaptation of 52.

Hm. Already, I could tell that this wasn’t going to be more of the same. Infinite Crisis and 52 are very different. Infinite Crisis was seven slightly-longer-than-usual issues, condensed. For the novelization, they had to add in bits from other comics from that time to pad out the story. The Graphic Audio experiment took an average story and transformed it into something pretty good. In fact, reader Illvillainy, who picked up the CD set based on my review, had this to say:

Granted my imagination had me envisioning Doug Mahnke doing, say 12 issues, of gorgeous art while listening to the CDs but going back to read IC afterwards and seeing 7 rushed and badly paced issues of Phil Jimenez trying to be George Perez with scrunched up layout and one page splashes was severely disappointing. The audiobook wasn’t perfect but it made me like the idea of IC a hell of a lot more.

52 is another beast entirely. The quality was far superior on all fronts and due to lasting 52 issues, the story was more decompressed. Well, maybe “decompressed” isn’t the best word for 52. It’s just that there were so many subplots going on that if you were reading it for one of them specifically, you could go at least a month without an update. I cared about all of them to at least some extent, so I was cool with it. Though, really, I was mostly in it for Booster’s storyline.

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