It's not often that our team at ComicsOnline calls a book “perfect”, butAlan Scott: The Green Lanternhas earned that designation with this masterclass in storytelling. I truly appreciated howAlan Scott: The Green Lanterntook an additive approach to the character's history, and I have a feeling that this will be a fan-favorite chapter in the Green Lantern saga for many years to come. This book couldn't have been any better if they tried. Read Full Review

Alan Scott: The Green Lantern #6 concludes one of the most poignant comics of the last decade in a masterful fashion. The story concludes in some of the most satisfying ways youll see in the modern comic book landscape. Read Full Review

What makes a hero? That question is definitively answered in this final chapter. Sheridans superb writing invokes the grit and determination of Scotts unbreakable will. Tormey, Herms, Tarragona and Gattoni flood the pages with exciting imagery. Readers will leave knowing no power is greater than love. Read Full Review

While an argument can be made that Tim Sheridan's script wraps up the conflict a bit too nicely, that feeling is vastly outweighed by the profound or heartwarming moments on display elsewhere. Read Full Review

Wherever Alan Scott goes next, it will be amazing to see if the events of this story stick with him. Any reader should be glad to have experienced Alan Scott: The Green Lantern, and Alan Scott: The Green Lantern #6 is no different. With strong writing and touching artwork, this story proves just how capable Alan is as a hero and a role model. After an excellent finale, Alan Scottremains among DC's best books over the past year. Read Full Review

A classic, and classy, end to a very good miniseries. Read Full Review

Alan Scott: The Green Lantern #6 ends the retconning miniseries with brief but entertaining action, richer context to the relationship between Alan Scott and the new Red Lantern in Geoff Johns's current JSA run, and much too much self-affirmation. If the goal was to elevate Alan Scott into his new status quo, Tim Sheridan missed the mark in more ways than one. Read Full Review

Alan Scott: The Green Lantern #6, like the entire series, is uneven. There are moments that really work and are quite compelling, but it all seems to be in service to retconning Alans sexuality as opposed to be in service of Alan as a heroic character. Sheridan tries to get the reader there, but the end is just unsatisfying in almost every way. If hes supposed to be bi-sexual thats a different story. If hes a gay man with a strong will power to live his life as he is then why would he lie and misrepresent himself to women? Its not heroic, its notnice. It highlights how forced changing Alans sexuality is. It feels like DC wants to have its cake and eat it too. The character ends up being weaker for it. Read Full Review

If I could do higher than 10 I would. This series has had everything I ever wanted and the finale was epic. Now let’s all read the stupid comments from the haters with nothing better to do than neg peoples comments.

I recently had the chance to sit down with writer Tim Sheridan to discuss the finale of Alan Scott: The Green Lantern (check out the interview at the 🔗 in bio), & now that I’ve read the issue, I can say that it’s a masterclass in landing a satisfying conclusion to a story. Sheridan, artist Cian Tormey, colorist Matt Herms, & lettered Lucas Gattoni have crafted a tale that is epic in scope, intimate in character development & visually complex.

The artwork is stunning, w/ vibrant colors & dynamic action sequences that showcase Alan’s evolving mastery of his powers. But it’s the heart & soul of the story that truly shines, as Alan Scott comes to terms with his & and finds a new sense of purpose across timelines.

Over these six issues, Sheridan crafted a deeply human story of a man’s struggle to come to accept & love himself in a world that tells him he shouldn’t. With sensitivity and nuance, Sheridan explored themes of identity, acceptance, & relationships, creating a narrative that was both personal & universal. This is a story that will resonate w/ anyone, not just queer people, & it’s a testament to the power of comics to inspire & uplift. As Sheridan alluded in our interview, this story is a love letter to Alan Scott. Don’t miss out on this incredible finale - it’s a must-read!

I hope this isn’t the end for Alan Scott, & that DC continues to invest in these Golden Age heroes as new readers continue to discover them for the first time. There’s still so much potential for growth & exploration w/ these characters, & I’d love to see what the future holds for Alan & the rest of the Justice Society. more

This was a solid miniseries with some good representation. It was never a top series for me, but I didn't have a bad time reading it. Don't let the clearly hate-inspired reviews throw you off. Give it a shot.

If Sheridan really rage quit dc then the readers have finally won.

It's one thing to publish a badly written, soon-to-be-forgotten miniseries and to move on without making any waves -- many of those floating across the medium, especially in recent times -- but it's something else entirely to manage to permanently damage a character in six issues. This is a book by someone grasping at straws to fit into continuity what they clearly think is a crazy retcon, not a creative team willing to put in the time to research the character and understand the narrative & subtext woven into Alan Scott's entire publication history before this travesty.

To be clear, this book is steeped in Red Scare-era propaganda and is remarkably ahistorical. In Alan Scott: The Green Lantern's world there's no way WWII could've followed its real life trajectory, not with the USSR launching a full scale invasion of New York City (with its soldiers full on admitting to Stalin's secret plan of taking over the world!) before the US had even entered the war. Pushing for an alliance with Nazi Germany, are we? No matter, because the good folks at DC Comics clearly think better dead than red.

It's not even that that ultimately renders it a stab to the heart of any Alan Scott fan though, it's not even laughably bad children's cartoon tier lines like "I'm the villain", it's the fact that we're treated to a horrifyingly homophobic portrait of a gay man saying he'd been "deeply in love" with a woman and that the two wives we know about aren't even the full extent of his heterosexual dalliances. If you were confused about Alan's recent revelations, don't you worry -- so was he! Instead of taking the easy and logical way out, instead of framing Molly & Rose as beards (god forbid gay people lie to protect themselves!) and eighty years in the closet as the result of the societal pressure a homophobic society puts on a man in Alan's position (especially as his career grows), the "blame" is placed squarely on Alan.

The main part of the story finishes with Alan telling J. Edgar Hoover that he's not ashamed of who he is, that he couldn't care less if the blackmail material in Hoover's possession will be released... only for him to immediately go back in the closet? It's a line of thinking so absurd, it gets questioned in the issue itself.

This is the trouble with tying a character's entire sexuality to another character, we're told Alan has been with multiple women but on the gay front it's all centred around one man & the men who resemble him that Alan explicitly only sees as an extension of that single man. Instead of exploring the fact that Alan had dated no women until Infinity Inc's retcons, that even so he's never kissed a woman on-panel, that for eighty-something years he showed no interest whatsoever towards women especially in comparison to his contemporaries, instead of acknowledging the various men Alan has had strange & complicated dynamics with across the years, we end up with Mr. Scott talking about women more than he ever has before. We end up with the childish logic of "people can only have children if they're in love" instead of the reality that many gay men have had to marry and have children to meet society's expectations with no attraction, no love ever being involved. The Alan Scott of this series is not just indecisive, naive, and confusing, he's also not remotely allowed to harbor any negative or complex feelings towards anyone or anything.

I find it hard to believe the damage suffered here can be undone any time soon. more

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Psycamorean - Jun 3, 2024

The bits in this review about Alan's relationships with women seem to be really stretching. I'm not speaking for every gay out there but I've heard many stories and known plenty who've followed this trajectory of getting into relationships with women. Most of them are not simply hiding. They may have thoughts, or might even see themselves as bi, but they're usually not using these women as straight up cover. And if they were, that was explicitly the dynamic of the relationship.

Psycamorean - Jun 3, 2024

What was much more common was men who were in denial, or afraid, and who genuinely felt love for their partners, and slowly came to the realization that they were gay. And it's complicated, as is sexuality, and it led to lots of grief and guilt. To act like portraying that relationship is vaguely homophobic, or that the comic is "blaming" Alan is a bit much, and kind of white washes the complexity of these dynamics.

Psycamorean - Jun 3, 2024 (edited)

Also now that I think about it, I don't really see the red scare thing either or the criticism of lack of historical accuracy. We know this story takes place before Germany invades Russia, so the US and the USSR aren't really allies yet (an allyship that was full of distrust). But even if it had, I think it's fairly easy to say that the DCU's version of WW2 is different than the actual historical event. Obviously, with super heroes, and magic. I believe Hitler had an evil god spear at one point.

Psycamorean - Jun 3, 2024

So is it really such an affront to the sensibilities when this comic might not be extremely stringent in ensuring that everything is historically plausible?

Psycamorean - Jun 3, 2024

As for the red scare thing, I feel like this story inverts the trope. Sure, you have the evil bad guy communists, but aesthetics aside, they could be anyone. And for Red Lantern, the tropiest of the bunch, what with being a secret undercover spy, the comic clearly shows that he's not irredeemable or even evil. That he's not The Other. Alan loves him in spite of the lies, and the writing clearly wants us to sympathize with him, which flies directly in the face of the red scare as a cultural trope

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