Originally Posted by
godisawesome
The difference between the Barry/Wally situation and the Hal/Kylo situation is that, to at least some extent, it’s very easy to argue that Wally was a more successful Flash during the prime of his run, which contributed more to the mythos in a way that evolved it from Barry’s time, and that Wally was the more the modern Flash than Barry was, while Kyle was always kind of seen as a bit more of an interloper and experiment that, while successful, was never as strong of a pillar as Hal + The GLC was.
I mean, Wally is still effectively the Post-Crisis Flash in a way that Kyle wasn’t because of Hal’s Post-Crisis career both before and after Emerald Twilight, Wally was the character for whom the Speed Force was introduced, and Wally was a strong enough pillar to build a multi-book Flash Family around (yes, it was mostly limited to just Flash and Impulse, but you still had Jay, Max, and Jesse hanging around just as much.) Wally’s book also hosted the seminal runs of the series in the modern age, including from Geoff Johns, the usual suspect for elevating a Silver Age character above a modern one with his runs.
So a Kyle-Wally comparison doesn’t really suffice for fans of the character or for the character’s potential. Unlike Kyle, it’s easy to argue that Wally was the evolution of the franchise instead of a repackaging. And it hasn’t helped that the Flash book with Barry has suffered from some inconsistency that hasn’t seemed to help launch it to heights comparable to Wally’s epochs.
But I don’t think that matters to editorial because they are focused on trying to create a “new reader friendly” status quo, and find Wally a danger to than because of him being not just a legacy character, but arguably the most successful legacy character. They believe that admitted progression of time is the enemy of new readers, particualrly if it positions a Silver Age stalwart they see as more marketable to new readers as an “elder statesman” of superheroics. Only Batman and the Batfamily have kinda managed to avoid this... but the recent changes to Nightwing and the post-Flashpoint mess of the Batgirls has shown even the dependable money maker isn’t safe from editorial trying to “fix” it.
So it’s not so much that editorial despises Wally, as much as they view the situation as something of a zero sum game. If you’re a respected writer with a great idea for a Wally story, they’re going to think that’s nice and all, but you need to reformat that for Barry. If you’re a major player in the comic industry with legendary clout because of how good your writing is and you want to write Wally, they’re going to wonder why on Earth you’d ever want to do that, and tell you to write Barry instead. And stuff like TV and movies returning to Barry only reinforces their opinions: they see it as iron clad proof that Barry is more marketable and should be pushed more, even if the honest answer is that the TV shows and movies are carried more by just good writing than by preconfigured character advantages.
And adding to the issue is that I don’t think DC editorial believes in building large stables of highly skilled writers at the moment - it’s easier and more “dependable” to have stables of artists you can deploy when you feel like it, one or two superstar writers, and a buffet of journeyman who will do what they’re told by editorial. And a true Flash Family line would need a stable of skilled writers all around.