Jan. 29, 2014

This week rounds out the month with some classic series like Teen Titans and The Flash and adds a few Annuals to the mix.  It also marks the end of the very intriguing Damian: Son of Batman series.  Not the most perfect week of comics, but certainly a few gems to be read.

  • The Flash #27 begins the last arc of writer Brian Buccellato’s run on this title.  Beginning in the 19th century when the Gem Cities of Keystone and Central City were mining camps, we get a two page glimpse at a murder centuries.  Cut to the present when Flash is running down (pun intended) a few of his lesser foes, only to discover a hidden chamber beneath the city streets containing several long dead bodies.  They fit the M.O. of a killer put away on a life sentence, but according to forensics were killed AFTER said person, Hollis Holden, was sent to Iron Heights Prison.  As Barry looks into the facts it slowly dawns on him that this could be the case that clears his father’s name of killing Barry’s mom.  It’s a sad thing that Buccellato is leaving the Flash, because his collaboration with Francis Manapul on the title has truly invigorated this series and made it one of the “can’t miss” series of the current DC lineup.  Though Manapul is absent in art, Patrick Zircher takes over art duties and his panels bring the Flash alive in a whole new way.  I won’t say that I like the art better than Manapul’s, which is in it’s own category, but I definitely love his work and would seek it out in other titles once this title transitions. With this being Buccellato’s last hoorah on the Flash, it’s a distinct possibility that Barry might ACTUALLY solve his mother’s murder.  The question comes down to how well that answer could be given under the current circumstances and the size of Buccellato’s ego.  My opinion could swing favorably or unfavorably on this one.  Two more issues to go . . .
  • The Red Lanterns #27 begins properly the new phase in the Red Lantern mission.  After “Lights Out” Hal Jordan gave Guy Gardner and his Red Lanterns a sector of Space for their own, free of interference from the Green Lanterns.  Guy took 2814, home most notably to the planet Earth.  Writer Charles Soule says Ysmault, the Red Lantern homeworld, is in Sector 2814 and that is the rationale for its selection.  I’m not buying it.  This is one time when I have to question Soule’s logic, considering that Ysmault was used as the prison to house the survivors of the Manhunter massacre of every living thing in Sector 666, except the six Inversions imprisoned on there.  They were imprisoned to keep them out of sight and out of mind so they couldn’t tell the rest of the Universe what the Guardians let happen.  So . . . why would they put these dangerous criminals in a heavily populated sector like 2814 when they could use any of the THOUSANDS of deserted planets in 666 where nobody ever goes and where there are no Green Lanterns patrolling?  I’m pretty sure they did even say Ysmault is in 666 somewhere in one issue or another.  A very ill-conceived gambit to justify the annexing of 2814 by the Reds.  With that taken into account, Guy intends to inspect Earth and show Skallox and Zilius Zox his homeworld, as they have never seen it before.  I am fairly certain Skallox went to Earth in Red Lanterns #10 or the crossover issue of Stormwatch #10.  Soule is appearing to not have done his homework.  Rankorr and Bleez, who have been to Earth many times, are dispatched to find a newly minted Red Lantern and reign them in, only to come face-to-face with Atrocitus, who found new ring himself and initiate the new toad-like Red into the fold.  On Earth Skallox and Zox are left to their own devices, invariably finding trouble.  The main thing that Charles Soule accomplishes with this issue is the reintroduction of Tora Olafsdottir, aka Ice, into the New DCU, as well as recapping the former relationship that Guy and Tora once had.  I like the series, but I do think that of the many things that Charles Soule is currently writing this is the weakest series and the one that probably has the least of his attention.  That’s not to say that it’s bad, but it could be way better.
    An Icy Reception.

    An Icy Reception.


  • Teen Titans #27 appears to be Scott Lobdell’s attempt to make a liar out of me.  Last issue, he and artist Tyler Kirkham went about detailing the secret origin of Kid Flash, aka Bar-Tor, as a “psychotic anarchist” who led a bloody rebellion in a tyrannically oppressive future.  At least that was their aim.  What they showed was a level headed kid that did everything within his power to protect and provide for his little sister, Shira, and make a better world.  He is nothing more than what any person would be in that situation and far from the psychopath they’d depicted him as.  This issue changes that.  It also, to a small degree, changes the rationale behind his surrender to the galactic “Functionary” that oppressed the lower classes of its citizens.  In issue #26 it appeared that the near death of Shira due to his actions snapped Bar out of his revolutionary fervor, making him give himself up to authorities.  While I still believe that he loves his sister and that she is his primary reason for doing what he has done, Scott Lobdell shows that Kid Flash’s surrender was both strategic and deceptive.  Though he was granted witness protection and a new identity in the past, the Functionary show when they try Bar in this issue that they never had any intention of letting him live.  They only meant to break his rebellion by putting on a show trial with him ratting out those that believe in him and fought for him, killing their spirit, and then executing him afterward.  Bar knew this and turned the tables.  After admitting his utter guilt to the charges laid against him the ceiling is literally blown off of the courthouse and the prison guards arm the rebels and teleport them to the scene.  Bar has the Functionary bigwigs in a snare that will ensure that all the government’s heads will roll in one swing of the sword.  No one is going to survive Bar’s coup, not even the innocents present.  In his demeanor and his actions, Kid Flash does take on the crazed temper he’d be cast in leading up to these last two issues.  It’s madness, but the question is whether it is a good kind of madness.  What is happening seems very much like the French Revolution with the prison guards turning against their masters and opening the prisons in an all out breakdown of the system.  I am very curious to see how this predicament pans out and how the crazy Kid Flash from this issue reconciles with the very grounded, moral version that perhaps only I saw in the last issue.  With a character like Kid Flash it’s hard to believe he would get kamikaze’d like, that regardless of whether the title is getting cancelled in April or not.  Scott Lobdell hasn’t let me down so far and has written this series superbly throughout the two and a half year run.  Artist Tyler Kirkham is hitting it out of the park in the realm of art, really making this title a jewel in his resume.  I’m onboard this train till it’s last stop two months from now.  What a ride . . .

    The Face of Teenage Revolution.

    The Face of Teenage Revolution.

  • Talon #15 is yet another comic by Marguerite Bennett that I went into with high hopes, only to have them dashed.  The issue has NO story. Yes, there is something resembling a plot, but at the end of the issue the reader is left with two questions: 1) What did I just read? 2) Why should I care?  The plot (or what passes for one) begins with an African American Talon taking down William Cobb to become the Court of Owl’s new assassin.  It should be noted that this Talon is male, meaning that it is not Strix, who came into her second life in the 50’s. The pacing of the issue is also very jarring, following the reverse order paradigm of Christopher Nolan’s seminal film, Memento.  Slowly we work our way back through this guys life, and while the imagery is very depressing and often tragic, the rationale of why we are even hearing about this guy is not answered.  This is a one-off for Bennett, the title will transition to Tim Seeley’s hands for it’s final two issues, so again the possibility that this is setting something up is dubious.  There was even the possibility in my head that in some way this gentleman was a relative of Casey Washington, but due to the time period and the circumstances described this is just a nameless Talon we may never hear from again.  Every time I come across a title that Marguerite Bennett writes I get a twinge.  Maybe she’s good at writing her own material, but so far everything of hers I have read is her writing a one-shot issue of someone else’s property like her Batman Annual #2 last year, the TERRIBLE Lobo issue she wrote during Villains Month this September, and her lackluster Batgirl #25 in November.  She’s writing two one-shots next month and both have me worried.  Joker’s Daughter features the title character whom I do not care for one iota, so that sounds like a giant waste of money.  Lois Lane is a horse of a different color, because that has the potential to be amazing . . . assuming the writer has the talent to actually pull it off.  Lois Lane is a character that can be incredible, but can also be absolutely terrible if the writer doesn’t know what they are doing. Bennett does not instill faith.  Also the artist on Lois Lane, Emanuela Lupacchino, is an up and coming talent and I’ve enjoyed her past work a great deal, so that is another reason Bennett’s authorship is troubling.  No one wants to be the weakest link that breaks the chain, especially when that chain is Lois Lane, one of the most beloved female characters in comics and someone that fans have been screaming to have her own solo book.  Marguerite Bennett said this of her controversial Lobo issue this past September:
    You can hate me by Page Two. But if I do not have your attention by Page Four, you don’t have to read something of mine ever again.”
    Well Ms. Bennett, you have until the last page of Lois Lane #1 to sell me that you can write anything.  Then I am going to take you up on your previous offer.  
  • Damian: Son of the Batman #4 brings to a close Andy Kubert’s four issue miniseries dedicated to Damian Wayne, whom Kubert co-created with Grant Morrison.  This series has been and continues to be a very Kubert-esque journey through the life of Batman.  Joe Kubert, Andy’s father, had a very characteristic drawing style that influenced comic art for seventy years, but also a narrative style that is like no one else’s, past or present.  Andy has definitely inherited his dad’s artistic style, but he also emotes the same incredible voice as a writer.  Joe could have written this, but at the same time there is a darker edge that is all Andy.  In a lot of ways that is something of which this comic is an allegory.  Damian is taking over for his legendary father, Batman.  In the first issue, even after the death of Batman (it’s actually Dick Grayson) he is reticent to take on the mantle of the Bat, but as events unfold he is thrust into becoming Batman, but a Batman on his terms.  His father, who is still alive though quite old, chastises him for his wanton brutality which does get through to the young Wayne.  But as this issue concludes and Damian actualizes himself as the new Dark Knight he takes on the role adhering closely to his father’s legacy and being Batman in the ways that matter, but also maintaining an element of his own identity while in the role.  Now I don’t know if Joe and Andy had an idyllic relationship or a rocky one like Bruce and Damian in this series, but the parallels of Andy taking the reigns of continuing his father’s legendary name and legacy in the comics industry rings true to Damian’s struggle herein.  As stated, Joe Kubert’s art can be found in elements of more than four generations of comic artists, but his writing style is far more rare and that is what Andy stands as a torchbearer to.  Top to bottom, this was an incredible four issue miniseries and well worth reading for those that love and miss Damian Wayne.

    Long Live the Batman!

    Long Live the Batman!

  • Green Lantern Corps Annual #2 provides and extended format launch pad for the next major conflict in the Green Lantern family of books. The Durlans have been a problem over the past several months, but in this annual their threat begins to solidify.  They have publicly discredited the Green Lantern Corps in front of the Universe, they have rallied the Corps’ enemies into simultaneous attacks on the Corps’ chapter houses throughout the 3600 sectors of Space, and they have drawn blood by blowing up the Corps’ command center on Mogo.  Writers Robert Venditti and Van Jensen give background into the Durlan threat by showing the horrific ruling council of the Durlan race called “the Ancients,” and gives voice to what the Ancients plan.  What’s more, the annual primarily focuses on the Corps’ many iconic villains, i.e. Kanjar-Ro, Bolphunga the Unrelenting, Darkstar, etc., and gives short one to two page glimpses into each villain’s past with a moment that sums up their individual motivations.  These are the worst of the worst who HATE the Corps, so what Venditti and Jensen do next is even more incredible.  Faced with an alliance with the Durlans who none of them trust, this ragtag group of villains pull a 180 and align themselves with the Green Lanterns to take out the Durlan threat.  It’s a tricky gambit and should make for one hell of an entertaining arc.  
  • Earth 2 Annual #2 finally reveals the origin of the enigmatic Batman of Earth 2.  Spoiler Alert, I am going to reveal the identity of Batman.  I feel enough time has passed since the issue dropped that those that want to know already know, but if someone doesn’t, skip this review.  This series started in Earth 2 #0 with the end days of the Apokalips Invasion of Earth 2 being thwarted by the Trinity (Superman, Wonder Woman, and Batman) at the cost of their lives. So with Bruce Wayne dead, who is this new Batman and why is he doing what he is doing?  The breadcrumbs and clues have been stacking up.  Firstly, through his rhetoric and desire to free “dangerous” inmates of the Arkham cryostasis detention center we are shown that he could be considered a criminal and a monster.  Secondly, while doing so he is revealed to have super-strength and a bulletproof hide. Thirdly, we are told that bioscans reveal him to be human.  Finally, when he goes into the containment chambers and releases the inmates he opens the Joker’s tube only to shoot him in the head, revealing a VERY deep loyalty to Batman as a person, but not an adherence to his stringent codes against killing and using firearms.  All of these paint a tantalizing riddle of who this person could be, opening the door for either a very interesting reinvention of a classic DC character or the introduction of a brand new one.  The reveal was, I am sad to say, underwhelming.  Batman is Dr. Thomas Wayne, father of Bruce Wayne, who faked his death and apparently became a junkie and a murderer out to take down mafiosi.  Maybe in the long run this will be a decent development, but it just seemed really tired and unoriginal.  Thomas Wayne as Batman was something novel that writer Brian Azzarello proposed in Flashpoint: Batman and wrote to perfection.  In that title as well, Batman became something very dark and excessive in his crusade against crime, also adopting the use of firearms.  However, Flashpoint Batman was the architect of the Batman persona following the death of 8 year old Bruce at the gunpoint of Joe Chill and the subsequent psychotic descent of his wife, Martha, into the persona of the Joker.  In Earth 2 the use of Thomas as the new Batman just comes off as lazy from a writing standpoint.  He uses guns, he’s got five o’clock shadow, he’s willing to kill, his costume is red and grey/black with sharper edges.  There are too many similarities with not enough validating differences to make Thomas’ role in the book worthwhile.  Now that may change, but the deadbeat dad concept, while tragic, falls flat for me.  This is a shame as I have enjoyed the series, both under the helm of original writer James Robinson and the new authorship of Tom Taylor.  Whether Thomas was Robinson’s idea or Taylor’s, the brunt of responsibility falls on Tom Taylor to make it work however possible.
    A Father in the Shadows.

    A Father in the Shadows.


  • Worlds’ Finest Annual #1 provides a look into the lives of three very important young women from Earth 2.  The title Worlds’ Finest follows Helena Wayne, known as Robin on Earth 2 and Huntress on Earth 1, and Kara Zor-El, known as Supergirl on Earth 2 and Power Girl/Karen Starr on Earth 1.  This annual showcases their lives as emergent heroes on Earth 2, as well as a brief glimpse at a third young woman whom readers of the series Earth 2 will no doubt recognize: Fury.  Helena Wayne is of course the daughter of Bruce Wayne (Batman) and his wife Selena Kyle (Catwoman), and the first and so far only bearer of the mantle of Robin on Earth 2.  As on Earth 1, Kara is the cousin of Superman and in most ways is identical to her Earth 1 counterpart.  Fury is the enigma, as she is the daughter of Wonder Woman and an unrevealed father, and fights for Apokalips.  In this way, the annual focuses on the female scions of the three great superheroes: Batman, Superman, and Wonder Woman.  Paul Levitz is just the writer to tackle this assignment considering his creation of Huntress in the 70’s and his incredible career writing thoughtful comics about uncertain youths flung head first into incredible circumstances.  For proof of that assertion read any of his Legion of Super-Heroes books.  The episodes depicted in this annual concerning Helena and Kara paint the two girls as novices making mistakes, but those early blunders juxtapose against the past two years worth of issues to show how they became the strong, confident women we have seen in the present.  Fury is more cryptic in her portrayal by Levitz and no doubt that is because her origin and the revelation of her motivations are integrally keyed into the Earth 2 title.  In any event, Levitz brings his A-game to these stories and spins into being three events that define the characters of these two dimensionally displaced heroines.

And thus concludes the first month of comics in 2014.  Here’s hoping to many more awesome issues to fill out the coming eleven months.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Red Lanterns #27: Art by Alessandro Vitti, Colored by Gabe Eltaeb.

Teen Titans #27: Drawn by Tyler Kirkham, Colored by Arif Prianto, Inked by Art Thibert & Dan Green.

Damian: Son of Batman #4: Art by Andy Kubert, Colored by Brad Anderson.

Earth 2 Annual #2: Drawn by Robson Rocha, Colored by Gabe Eltaeb, Inked by Scott Hanna.

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Oct. 30, 2013

With October being a five Wednesday month, this last week promises some incredible Annuals from DC, and that is NOT lip service.  Action Comics Annual #2 has been teased at with ridiculous shock endings to Superman #0 and Supergirl #0, put out over a year ago and left to simmer in reader’s minds.  Green Lantern Annual #2 promised to changed everything we know about Green Lantern books and with the past three months of developments that is not an exaggeration.  Nightwing Annual #1 delves into the complicated history of Dick Grayson and Barbara Gordon, which is always awesome.  Neil Gaiman puts out the first issue of a “lost” Sandman story.  Andy Kubert draws and writes a comic centering around Damian Wayne.  The promise of quality storytelling is at an all-time high.

  • Action Comics Annual #2 follows up on the end of “Psi-War” as the Man of Steel is pulled from the aftermath of the psychic fallout in Metropolis to an even more dire threat facing the omniverse at large.  Looking upon all realities and infinite universes, Superman sees waves of chronal energy ripping through all of existence extinguishing stars and the countless civilizations they fostered or were destined to foster.  Upon witnessing this, Superman is brought together with his cousin, Supergirl, and the boy partially cloned from his genetics, Superboy.  At this point the mysterious power that ripped the three Kryptonians from their respective missions reveals itself: The Oracle.  Last seen in the “H’el on Earth” plotline where our solar system was going to be rendered into raw energy to turn back the hands of time and save Krypton from its fate.  This meant the extinction of a race and Oracle came to witness it, but did not intervene.  He has witnessed the death of countless civilizations and watched wordlessly. But with the events of the Villains Month H’el issue we not only saw the origin of H’el, but also that his mission to go back in time before the death of Krypton succeeded.  Therein lies the problem.  With the survival of Krypton the rest of the omniverse is imperiled to the point that the Oracle, for the first time ever, intervenes and actively combats the forces that be.  He sends the two refugee Kryptonians and cloned “abomination” (Superboy) back to their homeworld to show them the true horror of H’el’s efforts.  H’el wants to save Krypton and to rule it.  Infused with seemingly infinite amounts of chronal energy that allowed him to go back time and time again after numerous failed attempts at saving Krypton, until one iteration of Jor-El (his mentor and “father”) in his infinite genius finds a way to do the impossible.  H’el’s attempts contradict the laws of temporal stasis and causality, barring his success all those times before. With Jor-El’s help the survival of Krypton shatters the very fabric of time-space and threatens all of existence.  And what’s more, the Krypton he saves becomes a shell of its former glory and a slave colony of proud Kryptonians heeled at his feet.  In this climate, one of Krypton’s worst becomes their only hope at righting the timestream and saving the omniverse.  Faora, second in command to the great General Zod finds herself the right hand of the Oracle, serving as his
    Faora.

    Faora.

    mouthpiece.  With her guidance, Supergirl is sent to Krypton’s distant past to cull his incursion during the Clone Wars.  Superman and Superboy are sent to the homes of the brothers El, Jor-El and Zor-El, a week before the death of Krypton. Jor-El and Kara (Supergirl) are key in those final moments and the next generation of El men are dispatched to ensure they fulfill their roles in the correct path that Krypton was meant to take.  This includes two very polarizing events.  Kon-El (Superboy) meets a younger Kara who immediately treats him as a friend, when in their past interactions (which in this case would be the future), she did her best to kill him for being a clone and an abomination by Kryptonian standards.  Kal-El (Superman) is transported to his father’s lab, where he is greeted by his mother, Lara Lor-Van, who immediately makes short work of beating him to pulp, thinking him an intruder.  Warmly embraced by a girl who had mindlessly sought one’s death, and mercilessly beaten down by the woman who gave the other life and selfless sent him to the stars for survival, Superboy and Superman define irony in their meeting of the women of House El.  With these events chronicled, Scott Lobdell firmly sets the hook on what promises to be a brutally ambitious crossover event of the Super-books in the month of November.  Since he introduced H’el this past year, the rogue Kryptonian has become an instantly iconic character, embodying all the negative aspects of a dying race and serving as a brilliant foil for Superman and Supergirl.  In many ways he is also a dark reflection of Superboy, who is himself apart from fellow Kryptonians in the genetic altering that birthed him.  H’el, while not a clone, we now know isn’t a natural Kryptonian, and bears the horrifying visage not because of his escape from Krpyton but rather from being born accidentally from genetic material sent into space and bombarded with cosmic energies.  Like Kon-El, his powers will always be different from those of his fellow Kryptonians and his mind a battlefield of constant rage.  Providing art on this issue is regular Superman artist and oft time Lobdell collaborator, Kenneth Rocafort, as well as Dan Jurgens, Lobdell’s predecessor in writing Superman and the artist who rendered Lobdell’s H’el issue in September during Villain’s month.  Across the board, this issue hits all the right notes and fulfills a promise made in September of 2012 with the appearance of Superman and Superboy in Superman #0 and Supergirl #0.  Lobdell looks to deliver on that promise with interest.

    Supermom Lara Lor-Van.

    Supermom Lara Lor-Van.

  • Green Lantern Annual #2 is a monumental installment in the ongoing Green Lantern mythos.  After the defeat of the First Lantern and the downfall of the Guardians of the Universe, the Green Lantern Corps faces an even greater threat in the form of a cyclopean figure known as Relic.  The sole survivor of the universe that existed before the Big Bang and the creation of our universe, Relic witnessed the death of his reality and awoke just before the death of another.  The cause of this cataclysm was the same both time: Light-wielders.  In our universe they are ringslinging Lanterns.  In Relic’s time they were staff wielding “Lightsmiths.”  Relic realized too late that the light of the emotional spectrum which Lanterns and Lightsmiths utilize was a finite resource within each universe and the gratuitous use of that light moves the doomsday clock closer to the hour of oblivion.  The Lightsmiths of the previous universe dismissed Relic’s research, so this time around he foregoes talk and viciously attacks the “lightsmiths” of our universe to save their reality, over their dead bodies if necessary.  What’s worse, the various entities of the emotional spectrum ally themselves with Relic to help realize his plan to refill the universal reservoir at the “Source.”  Writer Robert Venditti re-introduces the Source Wall into the New DCU, resurrecting the wall that Jack Kirby created in his Fourth World books which demarcates the edge of the universe, composed of the calcified remains of those that try to escape its bounds.  What follows in this issue as the surviving Lanterns of four corps come to blows with Relic for one last ditch battle truly changes everything that we had known about the Green Lantern books for the past eight years.  Keystone friendships come to an end, loyalties are tested, and deals are struck that alter the dynamics that have driven this comic for decades.  What Venditti has accomplished with this five part “Lights Out” crossover arc is truly inspired and well thought out, providing entertaining, innovative storylines, but also prescient social commentary.  Relic’s findings about impending climate and energy collapse, dismissed by the powers that be, bears a striking resemblance to global warming and the current state of fossil fuel depletion.  As our best scientists currently discover more about global warming or the mathematics about the consumption of oil and coal versus the remaining stores the shortsighted in power try to silence them so the cogs of the status quo aren’t halted.  Both sides of the issue and the rationale of each are portrayed equally and fairly by Venditti as he examines it through the lens of intergalactic whimsy.  Sean Chen provides exquisite art that brings the finale of this cosmic odyssey to a poignant close, matching the art of Billy Tan quite well.  Overall, if you are Green Lantern fan, this annual is a must read, regardless of your thoughts on the direction the Green Lantern titles are taking.

    The Power of Life.

    The Power of Life.

  • Aquaman Annual #1 resurrects the work of Geoff Johns’ from his “Others” arc, but this time under the pen of John Ostrander.  The Others were a group of gifted individuals that Arthur Curry, aka Aquaman, joined after accepting his Atlantean heritage and becoming king of Atlantis.  To each of his teammates he gifted a different relic of ancient Atlantis.  He kept the trident, but gave the others to the Others.  It is precisely this fact that gives conflict to the issue’s plotline.  The Operative, Joshua Cole, is given his fallen teammate Vostok’s helmet for safekeeping because his mobile headquarters aboard an aircraft allows the most security.  However, that doesn’t stop it from being absconded with by literal flying monkeys dispatched by an equally literal wicked witch.  Along with the the monkeys come hoards of magically altered sea life, prompting the appearance of Aquaman.  The danger of one of the powerful talismans of Atlantis falling into the wrong hands brings the surviving members of the Others together once again, with honorary members, Sky and the Operative’s grandson, Aaron.  Once they come together the trail leads them to Morgan Le Faye, last seen in the series Demon Knights.  After the fall of Camelot and the various kingdoms that followed little has been told about what happened to Morgan.  Now we get to see how she’s holding up in the present.  In Arthurian myth, Morgana was always a seductive figure that corrupted through her feminine wiles, magic, or power.  In the present era, she puts the Others to the test, finding some to be wanting.  Ostrander writes a fantastic annual that feeds off of the burgeoning mythology of not only the Aquaman series, but also Demon Knights, building upon that foundation new levels to each.  His characterization of Johns’ characters feels very authentic and cuts deep to the core of who they are.  The pencils of Netho Diaz and Geraldo Borges are similar to the pencils of Ivan Reis, original series artist, bringing further authenticity.
  • Nightwing Annual #1, written by Nightwing scribe Kyle Higgins deals with a bevy of complex issues and characters.  Concerning his native topic of Dick Grayson’s life, Nightwing is transitioning into a new phase of his life.  So much of his past has been tied to Gotham and Batman’s legacy.  With the fallout of “Death of the Family” he has been forced to break from all that he has known since he took up with Batman after the death of his parents and forge his own path.  Bruce and his acolytes have become his family in lieu of the parents he lost and the family he once had in Haly’s circus.  Higgins’ run began with him inheriting Haly’s and reestablishing that bond with his first family.  In one fell swoop, the Joker took both the circus and his ability to trust Batman away.  So literally, he is cut off from everything he has ever known and is venturing into uncharted territory.  Higgins also picks up Barbara Gordon, aka Batgirl, at an equally low and uncertain time in her life.  Barbara is the eldest child of legendary Gotham police commissioner James Gordon and the big sister of sociopathic serial killer, James Gordon Jr.  Recently, when her little brother found his way into her life he set about terrorizing her and their mother to the point of Barbara having no choice but to “put him down.”  The lattermost moment witnessed by her father, which put Batgirl on the top of Commissioner Gordon’s most wanted list.  Hunted by her father in her masked identity and haunted by her actions in her civilian identity, Barbara has forsaken her all-consuming life as Batgirl and tried to figure out who Barbara Gordon actually is.  In the fallout of two lives crumbling, they look to what fragments of their pasts remain for comfort.  One of the hallmark points of both characters’ geneses in masked crime-fighting was a brief teen romance.  Even before the New DCU, back when Barbara was still in the wheelchair, there was a “will they/won’t they” repartee betwixt the two bat-family members.  They’d come close only for fate to pull them apart again.  Higgins picks that up as the two twenty-something vigilantes attempt to save an imperiled actress in a similar situation to their own.  The parallels between their charge’s rocky romantic past and their own draws them closer and closer toward finally realizing what is right in front of them.  Higgins masterfully tells this story of two broken souls, while re-introducing readers to the classic Batman villain, Firefly, all the while layering plot points and metaphor through the narrative.  Helping him in art are Jason Masters, Daniel Sampere, and Vincente Cifuentes, all of whom have done time on the Bat-books and proven their chops depicting Gotham’s cast of characters.  Overall, Higgins hasn’t lost his touch one iota as a writer of Nightwing and those closest to him.

    Young Love.

    Young Love.

  • Teen Titans Annual #2 finds Red Robin, Superboy, and Wonder Girl stabilized in their madcap roller-coaster ride through time, landing twenty years in a seemingly post-apocalyptic future.  The Justice League has fallen.  Batman has fallen.  All that remains is Beast Boy, Rose Wilson, and a ragtag group of meta-teens.  Through this annual, current Teen Titans writer and former Superboy writer Scott Lobdell realizes the near future of the DC Universe.  Even after he left the Superboy title, he came back for the 19th issue, revealing the human heart of the 25th century monster named Harvest and the one thing he loved above all else: his son, Jonathan Kent . . . the first Superboy.  Jonathan comes back in this issue and clone (Kon-El)  finally meets his original (Jonathan).  From issue #1 of Superboy, the boy Supergirl would name Kon-El has been a living weapon molded to cull super-powered individuals.  Trained and honed into a blunt object, a part of him relishes the role, but another part yearns to be free and experience friendship.  The better angels in his soul are what make him Kon.  The part of him that takes pleasure in the sadism he does is the memetic legacy of Jonathan from whom he was cloned.  At the point in the future when this annual takes place, Jonathan has come out of nowhere and nearly eradicated all the meta-humans.  He and Superboy do battle with Superboy actually coming out on top, proving that sometimes originals can be improved upon.  Inheriting Jonathan’s lack of mercy he attempts to coup-de-grace the psychotic super-teen, but as seen in the Action Comics Annual, is drawn from that point in time-space by the Oracle to aid Superman and Supergirl in stopping H’el’s assault on the omniverse.  No rest for Superboy.  In the meantime, Beast Boy councils Red Robin about this future and how it can be avoided and then explains that all the information and preparations he has given them were at Red Robin’s own behest after the three Titans return from this jaunt to the future to prepare themselves to combat this impending doom.  Seems like a time paradox to me, but I suppose with comics you have to check your disbelief at the door.  At the same time Wonder Girl stumbles upon a scrambled holographic record of Red Robin talking about the death of their team and a traitor among their number.  But the most troubling development is that the dying Jonathan is saved by Beast Boy, dressed in Superboy’s costume, and sent back knowingly with the Teen Titans to the past.  A real Hail Mary, but clearly Beast Boy knows what he’s doing since a pysched out Jonathan in the past would endanger his own existence in this future were his intentions untoward.  However, that being the case, it is highly likely that Lobdell is going to have Kon killed in “Return of Krypton” considering that he’s placed a “fake” Superboy among the Titan’s number.  Scott Lobdell has been rocking every DC book he’s touched and his treatment of both this annual and the Action Comics annual has been nothing short of stellar.

    No Mercy for the Merciless.

    No Mercy for the Merciless.

  • Swamp Thing Annual #2 provides a universe hashing interlude between the gauntlet laid down by the Parliament of Trees to decide who should be Avatar of the Green and the actual fight.  Alec Holland is the chosen avatar, but the up-and-coming Seeder has the gumption to challenge that ascendancy.  Writer Charles Soule takes this annual and uses it not only as a way of showing the preparation that Alec has to fight this battle, but also to morph the Swamp Thing mythos into something that is his own.  Original writer Scott Snyder wrote Holland as a prophesied warrior king of the Green.  A messianic figure.  It worked wonders for his run, making it legendary and an epic read.  However, it also left whoever took over the series painted into a corner.  Here Holland is told that he isn’t actually that special and he was just told that by the Parliament to make him believe in himself enough to defeat Anton Arcane and his Rotworld.  Like most political arenas, avatars curry favor and disdain with various members.  When an avatar is retired they join the Parliament.  Holland is championed by a Swamp Thing that looks like a 17th century British gentleman, going by the name “Wolf.”  Wolf shows Alec the ropes and attempts to give him the lay of the political landscape.  He also arranges for him to speak with a very dangerous former Swamp Thing named the “Lady Weed.”  She was challenged for her status as Avatar and she prevailed, showing the depth of her cunning and ruthlessness.  She prevailed through stone-cold brutality and to drive home the point, she brought about the Great Potato Famine in Ireland, the country of origin to her slain rival.  A Swamp Thing must be ruthless if they are to remain the Avatar.  This blow to Alec hits hard, because his humanity has been something he has desperately attempted to hold onto, despite the inhuman thoughts that the Parliament whisper in his mind constantly.  The Wolf sends him to talk to one last person.  The Swamp Thing that the Parliament created artificially to stand in for him, thinking it WAS him.  This Swamp Thing was a cruel joke that despite not being human found humanity and that is what he imparts to Holland. His message to Alec is simple: “If you are asked to do something that will change you in a way you do not wish to be changed, that will compromise the person you believe yourself to be . . . say no.”  The messages given by Weed and the blue Swamp thing are polar opposites and seemingly disharmonious to the goals that the Wolf would have Alec achieve, since he has stock in the retention Alec as Swamp Thing, but what the Wolf has done is give Alec a choice.  He can do as the Green would have him and be the ruthless killer that Lady Weed was to retain her title or he can be the Avatar he wants to be just like the avatars seen at the beginning of this annual did once upon a time.  Charles Soule has taken this issue in hand and made it his own, following in the tradition of Snyder, but telling a story in his own tenor.  Javier Pina and regular series artist Kano provide lush art and incredible visuals to enliven the brilliant scripting of Soule.  This is very much a talking issue and very light on action, but for Swamp Thing faithfuls it is well worth the read. SwampThingAnnual#2
  • Damian: Son of Batman #1 presents an unofficial Elseworld style story about one of the most captivating and controversial characters to come to the Bat-books in the past decade: Damian Wayne.  The sociopathic son of Batman and Talia Al-Ghul, Damian cuts a very rough figure, but beneath the harsh, abrasive exterior beats a human heart that wants the same things his father did and strives toward those goal with equal vigor.  Damian first entered comics in the version we know in 2005 with Batman #647, written by Grant Morrison and drawn by Andy Kubert.  This past year, after a whirlwind tour of writing four series showcasing the characters of Batman and Damian, Grant Morrison killed off the young Wayne.  This series, Damian: Son of Batman, allows Damian’s co-creator Andy Kubert the opportunity to tell Damian’s story in his own way.  In it Batman is immediately killed at the beginning, blown up investigating a crime that seemingly was committed by the Joker.  In the aftermath, Damian is forced to pick up the pieces.  By this time he has grown into a young man, still occupying the role of Robin.  When he goes out to seek justice for his father’s slaying he finds himself alone.  His mother, Talia, and grandfather, Ra’s Al-Ghul, refuse him aid from the League of Assassins and all three of Damian’s predecessors as Robin are not even mentioned.  Ra’s even goes so far as to say that Damian has a greater duty to Batman than he does to the League, even though Ra’s and Talia genetically engineered him to be the next leader of the League, and suggests Damian take his rightful place as the next Batman to carry on his father’s legacy.  Despite his bravado and his overwrought sense of entitlement, Damian can’t even comprehend doing that and continues on as Robin.  As he had in the past and without any guiding light to stop him, his actions are calculated, precise, and brutal as he cuts a trail through villain after villain in Gotham seeking vengeance for his father.  The only voices of reason are a priest insinuated to be former police commissioner James Gordon and Alfred Pennyworth.  Andy Kubert ends the issue with a left field twist that could fundamentally alter everything this first issue led us to believe.  Kubert is a phenomenal artist and has proven so over the past several decades consistently.  The scion of comics legend, Joe Kubert (Rest in Peace), how could he not be.  However, this issue proves that not only did he inherit his father’s artistic ability, he is also gifted with his father’s narrative genius.  This series in its first installment IS Andy Kubert, revealing through pacing, plotting, style, and voice intimately the kind of person and storyteller that Kubert is.  The only things about this issue that aren’t him are the coloring done by Brad Anderson and the lettering done by Nick Napolitano.  Andy Kubert proved his mettle on the Villains Month Joker issue and now proves it again, giving his co-creation his own four issue send off.  This is certainly a series worth reading, not only for fans of Batman, but also fans of comics in general as the son of a deceased father attempts to take up his mantle and carry on his good works.  Am I referring to Damian and Bruce Wayne or Andy and Joe Kubert?  Therein lies the question.

    Heavy Weighs the Cowl.

    Heavy Weighs the Cowl.

  • Sandman: Overture #1 is the much anticipated prequel to Neil Gaiman’s first issues of Sandman, commemorating the 25th anniversary of the publication of the first issue.  The plot of this first installment is very hazy, ambling like a dream through various locations, situations, and characters.  It begins in a far off galaxy where the dominant form of life are sentient plants, with Morpheus (Dream) taking the form of a white flower upon a tall black leafed stalk.  It is in this visage that he first begins to feel somethingSandmanOverture1-1 strange in the Dreaming.  As the issue progresses, classic Sandman characters are slowly introduced to the reader for any jumpers on to the series, unfamiliar with the previous storylines.  The Corinthian makes an appearance, as does Dream’s big sister, Death, as well as his eldest sibling, the blind sage Destiny.  The issue terminates with Dream being summoned instinctually to a convocation of various versions of himself with the purpose as yet to be revealed.  Though the plot is vague, Gaiman has the style to whet his audiences appetite and entertain them despite the lack of concrete revelation.  As stated before, the plot is drawn out and nonlinear like a dream, adding to the ambiance.  Also contributing enormously to the ambiance is the peerless art of J.H. Williams III who lends his masterful talents.  When Williams and colorist Dave Stewart come together the product is magical and throw in Gaiman’s writing and you know that you are in for a show.  However, the true joy of Williams’ involvement in the book is the fallow ground Gaiman’s script grants him to spread his wings.  Through various segments of the issue his style changes, so while the beginning scenes on the plant planet are rich and vibrant, the following pages in 1915 London are dark, sketchy, and greytoned with inkwash treatments, only to later transition further into woodblocked fully monochromatic panels with the entrance of George Porcullis, and jumping ahead to the end with the four page fold out of different Morpheuses, each version of Dream is done differently some blue line prototypical, some very roughly drawn as though by a child, and some with no lines and just smeared hazy edges as though appearing from the ether.  In short this issue is one with no limitations and endless possibilities.  The pairing of two consummate geniuses on this anniversarial opus is nothing short of inspired and something for geeks around the world to rejoice about.

    Convocation of Dreams.

    Convocation of Dreams.

So ends a truly incredible batch of Annuals and special issues.  There was not one throw away book this week, with every issue put out adding something important to their imprints, titles, and subject material.  A fantastic way to end the month of October.

Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Action Comics Annual #2:  Art by Kenneth Rocafort & Dan Jurgens, Colored by Tomeu Morey & Blond.

Green Lantern Annual #2:  Drawn by Sean Chen, Colored by Andrew Dalhouse & Wil Quintana, Inked by Jon Sibal & Walden Wong.

Nightwing Annual Annual #1:  Art by Jason Masters, Daniel Sampere & Vincente Cifuentes, Colored by Chris Sotomayor.

Teen Titans Annual #2:  Art by Barry Kitson, Art Thibert, Jesus Merino & Scott Hanna, Colored by Pete Pantazis.

Swamp Thing Annual #2:  Art by Kano.

Damian: Son of the Batman #1:  Art by Andy Kubert, Colored by Brad Anderson.

Sandman: Overture #1:  Art by J.H. Williams III, Colored Dave Stewart.