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. 16, 2013

This week is a one of revelation, bringing quite a few story arcs to their satisfying conclusion and starting a few new ones.  Justice League of America reveals a major secret, Batman/Superman ends its first storyline with unique style, and Supergirl picks up after a “Who Shot J.R.” style cliffhanger dangled over two months worth of issues.  Meanwhile, Forever Evil: Rogues Revenge kicks off this month with its first issue and Batman & Robin emerges from a slew of guest stars with a five issue Two-Face “team-up.”  An awesome week to be sure, so let’s jump into it.

  • Justice League of America # 8 answers the question of what happened to the three Justice Leagues.  Since the beginning of Forever Evil the Crime Syndicate of America from Earth-3 claimed that they had killed the Justice League.  The vision of the world’s saviors defeated at the hands of a superior foe has robbed humanity of hope.  But as this issue opens Stargirl and Martian Manhunter awaken in an open field with only blue skies and green grass as far as the eyes can see.  As they move through it they realize that what they are in is a state-of-the-art prison, but how it works and to what end remains obscured.  Traversing the prison, Manhunter discovers that all League members are in fact alive and penned in very specialized cells that cater to their inherent weaknesses.  Wonder Woman, the Mighty Amazon, is forced to fight a pointless, neverending battle against humanity and her Amazonian sisters to save the lives of the two men she loves, Col. Steve Trevor and Superman.  Captain Marvel, a young boy living in the body of a titan, is placed in a city where the massive destruction he incurs in his superheroics immediately right themselves, even the slain immediately resurrecting.  For a little boy with infinite strength and a victim complex this scenario is intoxicating.  Flash, the Fastest Man Alive, is trapped in his apartment subject to the whims of his imagination, thinking he is going faster than ever when really he barely moves.  Superman, the noble Last Son of Krypton also called “the Boy Scout” by Batman, is weighed down by guilt over supposedly killing his teammates and attempts to fly fast enough to break the time barrier.  Simon Baz, Iraqi-American and fifth Green Lantern of Earth, is a man with great anger and resentment at the social injustice leveled at himself, his family, and his people.  Martian Manhunter’s mental abilities allow him to verify that each person is genuine and not delusions or elaborate hoaxes.  Writer Matt Kindt is given the honor of revealing one of the biggest secrets of Forever Evil, and tantalizes with juicy details that cut deep to the psyches of each character.  I mentioned the inherent weaknesses of the characters, but those weaknesses do not include kryptonite or the color yellow, etc.  Each of the Justice Leaguers has a weakness in their character and exploiting those weaknesses is a more sustainable restraint than their physical limitations.  So the Justice League and Justice League of America are both alive and being held in a customized super-prison.  This reveals a lot, but raises more questions.  1) Why did the CSA leave them alive when they could have killed them and ended any future interference?  2) What is the prison and how does it work?  3) Why were Stargirl and Martian Manhunter left together in the prison and how does the field play into their ideal incarceration?  Matt Kind writes a hell of a Forever Evil tie-in to usher in Justice League of America’s involvement in the greater scheme of things.  Doug Mahnke continues art duties on the title after initial series artist David Finch moved over to the main Forever Evil book.  Mahnke has a talent for rendering very serious material with the subtleties of his art.  Considering the prison’s function of playing into internal flaws, Mahnke’s art, especially in the eyes and expressions of his subjects, effectively displays their delusional states and subsequent madness. Overall, Kindt and Mahnke provide a stellar issue cutting to the heart of the Earth-1 aspect of Forever Evil.

    The Mighty Amazon.

    The Mighty Amazon.

  • Forever Evil: Rogues Rebellion #1 fulfills the promise of its title; the Rogues’ rebellion begins.  Brian Buccellato, cowriter of The Flash, has been writing the Rogues on and off for 28 issues.  The Rogues are compelling villains, because they have ironclad codes of honor that they rigidly adhere to.  That honor is what sets them apart from the “Evil that shall inherit the Earth.”  In this spinoff series of Forever Evil, the Rogues return to Central City after witnessing the Crime Syndicate’s rousing speech reprinted in almost every tie-in book.  What greets them is a city in ruin and mass carnage.  In the Gorilla Grodd Villains Month issue we saw the cause of the carnage.  Grodd was freed from the Speed Force and abhors the concept of gorillas and humans coexisting in peace.  When Solivar, leader of Gorilla City, tried to make amends for Grodd’s attack on the Gem Cities, Grodd comes back to finish the job he began.  Humans and gorillas are slaughtered wholesale.  However, many are left alive for other villains to finish off.  The Rogues prey upon Central City and Keystone City, but they DO NOT kill and they don’t steal from people who can’t afford it.  They also are VERY territorial and any violence leveled at their home is tantamount to a declaration of war against them.  So when they find most of the Gem Cities’ police force chained to trees they let them loose, but assert right from the start that they will work with the police, but will not cow to them.  After the events of the Rogues issue during Villains Month, Lisa Snart, aka Golden Glider and younger sister of Captain Cold, fell deeper into a coma after overexerting her astral form to free her lover, Mirror Master, from his Mirror World prison.  Cold took over leadership of the Rogues after this and her safety became the primary concern of all members henceforth.  So when they visit her bedside in the hospital and the Crime Syndicate’s lackeys come forward to enact Central City’s destruction they show their true colors and give their fellow “villains” a show.  The ending of this issue was heralded before in Forever Evil #2 with the dispatch of Deathstorm (evil Firestorm of Earth-3) and Power Ring (sort of evil Green Lantern from Earth-3) to put down their rebellion.  Brian Buccellato is ridiculously on with this first issue, proving that he understands quintessentially the logos of these anti-heroic figures of comic lore.  The Rogues aren’t bad per se, but their ignominy stems from the tenacious drive they have to achieve their goals and resist anyone or anything that would stop them.  What’s more, they fight tenaciously while still holding fast to their sacrosanct code of honor.  There is a scene after they release the police when Lt. Singh, Barry Allen’s supervising officer, levels a gun at Heat Wave and the Rogue looks him in the eye and very calmly delivers a smooth warning that immediately gets the gung-ho officer to lower his weapon.  That thin line between ceding ground and seizing it is a gossamer thread that can make or break a Rogue story and Buccellato walks it like a pro.  The art of this issue is split between two artists, Patrick Zircher and Scott Hepburn.  Both artists worked with Buccellato last month on his Flash Villain issues, Zircher lending his art to The Rogues and Hepburn to Reverse Flash.  Zircher’s art was outstanding and very emotionally charged.  Hepburn’s fell flat in my opinion when juxtaposed so closely with the evocative pencils and inks of Zircher.  I didn’t mind his art in the Reverse Flash issue, and actually kind of liked it.  However, when so closely placed to such a different style, Hepburns art comes off far less realistic and more cartoonish, and considering the somber tone of the book, that is NOT conducive to the readers immersion in the plot.  Overall though, it was a phenomenal issue and one not to be missed.

    Don't Mess With Fire Or You'll Get Burned.

    Don’t Mess With Fire Or You’ll Get Burned.

  • Green Lantern: New Guardians #24 is the middle mark of the epic “Lights Out” storyline happening throughout the Green Lantern titles.   Oa, center of the universe and ancient homeworld of the Green Lantern Corps, has been destroyed by the ancient being known as Relic, leaving the Green Lantern Corps homeless and in exile.  Former Green Lantern and current White Lantern Kyle Rayner also finds himself reeling from the loss of Oa.  However, in the wake of this tragedy the errant entities of the various lights simultaneously possess him and bend him to their will.  Kyle had previously played host to Ion, entity of Will, and Parallax, entity of Fear, and been able to assert himself with difficulty, but with five of the seven infesting him at once there is no shaking them off.  However, while his incarceration is unpleasant, it does shed light on what is going on with the entities and the universe’s reservoir of light.  Justin Jordan has been helming this title since the apocalyptic events of “Wrath of the Last Lantern” concluded Tony Bedard’s run and his issues have really put the weight of the world on poor Kyle’s shoulders.  If you are a fan of Kyle Rayner, as I am, this issue and its immediate predecessors paint a very epic picture of the artist’s role in maintaining cosmic equalibrium.  Justin Jordan picks up from Robert Venditti and Van Jensen and passes the story to Charles Soule for Red Lanterns #24 with no loss of momentum.  Truly amazing.
  • Batman & Robin #24 opens with a fly landing on a sleeping Two-Face’s bad eye, which never closes when he sleeps.  Waking up, he puts a gun to his head.  By page 2 writer Peter Tomasi has already established a haunted version of the binary bad guy.  Then the story shifts to Batman and the GCPD breaking skulls to find details on the imminent return of an infamous Gotham mobster that has been running the Irish gangs remotely from numerous safe houses around the world: Erin McKillen.  She comes into town for a very important summit with all Gotham City families to determine the future of organized crime in a city plagued with “freaks.”  McKillen is told that she is going to be the one to start the ball rolling by offing Two-Face, the man she created.  Cut to a flashback of that fateful moment years ago.  Harvey Dent wakes in his office, strapped to his desk top, his wife Gilda dead on the floor with a letter opener in her chest, and Erin McKillen wearing Gilda’s clothes.  Mocking him, she pours acid on his face to show Gotham “what a two-faced son of a bitch [he] is.”  Despite the agony he breaks some glass with his shoe and saws the ropes holding him down, freeing himself, then holds his wife one last time and kisses her with his wrecked face.  Again, the characterization and the haunted nature of Harvey Dent is beautifully portrayed by Tomasi and visually rendered by Tomasi’s long time collaborator, Patrick Gleason.  No doubt there is more here than meets the eye, but there is a compelling pathos that accompanies Harvey through his portions of this month’s issue.  Like most villains examined during Villains Month, he has his overwhelming darkness that compels him into acts of villainy, but underneath the emotional (and in this case physical) scarring there is a human being.  Following the death of Damian Wayne, Tomasi has changed the title of the series month after month to accommodate his partner du jour.  Each only last a month and he moves on to the next team up.  This issue begins a five month Batman & Two Face arc.  The two Gotham City strong men might not work together directly, but there goals are the same: taking down Erin McKillen and making her face justice in some way for the heinous acts she has committed against Gotham City.  Will it be in the judicial system or at the end of a knife?  Tomasi knows what he’s doing, so I impatiently await the answer.

    The Death of Love.

    The Death of Love.

  • Batman/Superman #4 brings to an end the series’ first arc and also illuminates the opening arcs of both Justice League and Earth 2.  This first arc brings pre-Justice League #1 Batman and Superman together and sends them to Earth-2 where they meet their older, more established selves.  One thing writer Greg Pak really highlighted well in the past three issues is just how different the Earth-1 and Earth-2 Batmen and Supermen are.  One of the things I personally hated about Superman in the initial Justice League issues was how “in your face” he was and his lack of control.  Superman should be all about restraint and moderation.  The same can be said about Geoff Johns’ Batman from those same initial Justice League books that ushered in the New DCU.  Batman always is dark and brooding, but he’s intelligent and analytical about it, not confrontational and snarky without cause.  That is precisely how Greg Pak explores these two characters.  The Earth-1 iterations of the characters as they were first depicted by the misguided pen of Johns are juxtaposed against the characters as they should be, now relegated to Earth-2.  The most poignant example of this is Earth-1 Supes (whose adoptive parents died when he was in high school) meeting Earth-2 Superman and the elderly Kents.  The Kents note that Earth-1 Superman has a foul mouth and lacks patience.  Earth-2 Batman has a field day picking apart Earth-1 Batman, as does the otherwordly Batman’s wife, Catwoman.  Last issue the Apokaliptian demon named Kaiyo told the Supermen, Batmen, and Earth-2 Wonder Woman and Catwoman that this world’s military have obtained a giant crystal shard with supernatural abilities to alter reality.  This weapon was made to combat Superman, but Kaiyo says it can be used to combat a greater threat that is imminent.  Darkseid.  The Earth-2 Superman and Batman want it destroyed.  Earth-1 Superman and Batman want to save it.  Their initial desires and the people they are ultimately dictate their respective fates and eventual dooms.  The arc was rife with dichotomies between Batman and Superman and between different versions of themselves.  Greg Pak comes into the game late, but takes what has been done shoddily in the past and makes it work toward a larger purpose.  His rendering of imperfect characters is thoughtful and highly entertaining, but raises the question of what he will do in his next arc which looks to take place in a post-Justice League #1 continuity when both Batman and Superman were written better and when, as characters, they began to respect one another.  Also worth mentioning is the breathtaking art by Jae Lee.  Lee’s rendering of characters is very ethereal in the emotionless expressions he imbues them with and a look of effortlessness in everything they do, no matter how incredible.  Considering the clash of titans this arc depicts, Lee is the quintessential choice for it.  Four issues in and this has become a must read series.

    Nice Guys DO Finish Last . . .

    Nice Guys DO Finish Last . . .

  • Batwoman #24 is a bittersweet issue marking the premature departure of writers J.H. Williams III and W. Haden Blackman from the title.  Initially when they decided to leave they were going to write through issue #25 to end the overreaching arc they had begun.  This issue marks the actual end of their run, one issue shy of their intended end.  And what a cliffhanger they left . . .  Since the beginning of the “Weeping Woman” arc in early 2012 Batwoman, a.k.a Kate Kane, has been on the hook by the D.E.O. chief, Director Bones, and his underling Agent Cameron Chase.  Since the mid 90’s when J.H. Williams III worked on the series Chase the D.E.O. (Department of Extranormal Occurrences) has been looking for the holy grail of secrets in the superhero world: the identity of the Batman.  They have tried everything and always come up short.  Batwoman becomes their ace in the hole.  With a vulnerable member of the Bat-family in their pocket they have the means to finally blow that secret wide open.  Chase learns that Col. Jacob Kane (Batwoman’s father) armed his daughter with military equipment and later they get their hands on Kate’s twin sister, Beth, a.k.a Alice.  Williams and Blackman have been building toward this moment for twenty issues and the moment has finally come.  Bones has unleashed renegade Batman villains on Gotham as a massive diversion while Batwoman gets in close.  In the meantime Jacob, Betty a.k.a Flamebird (Kate’s cousin and sidekick) and a select team of operatives infiltrate the D.E.O. safe house where Beth is being held.  Beth is on the verge of being rescued and Batwoman sucker punches Batman, but good.  This issue ends in the perfect way to set up a MASSIVE finale to a storyline looooong in the making, only for the writers to be driven from their title.  Also distressing is the off-putting of the conclusion to December with the last minute inclusion of Batwoman to the “Blackout” event throughout the DCU.  As a Gothamite her involvement does make a modicum of sense.  November marks the regime shift of relief writer Marc Andreyko and artist Jeremy Haun.  J.H. Williams III and W. Haden Blackman are two incredible writers and Williams a peerless artist.  The loss of both could be catastrophic to this must-read title.  In my opinion this distressing possibility is augmented by the awful job Andreyko did on the Sword of Sorcery backup feature “Stalker.”  The original story created and written by Paul Levitz in the 70’s was amazing.  Andreyko’s was version was horrendous to read and completely without point.  His ability to pick up where greater minds have left off remains highly questionable.  We’ll see what November holds for Batwoman.

    Battle of the Bats.

    Battle of the Bats.

  • Supergirl #24 is one of the October issues screaming for release after the shock ending of August’s Supergirl #23. Supergirl had found herself on a constantly morphing colony of hive-minded mechanized organisms called the I’Noxia.  These machines are benign in nature, but forced to cooperated with the Collector (Brainiac) and his creation, the Cyborg Superman.  Supergirl is dying from Kryptonite poisoning after the “H’el on Earth” crossover in the Super-books. The I’Noxians offer her haven by computerizing her intelligence in exchange for Cyborg Superman gaining custody of her body and using her Kryptonian flesh to reconstitute his missing parts, returning his former body, but also the missing memories of his identity.  She resists and he takes what he wants by force.  He gets his body and his memories back and lo and behold . . . he’s Zor-El.  Kara’s father!  Upon regaining his memories and his mind he is immediately struck with horror at what Brainiac’s programming made him do.  In September the Cyborg Superman issue of Action Comics revealed the connection between Zor-El and Brainiac and how he came to be made into the Cyborg Superman.  Zor-El is a good man, but the road to Hell is paved with good intentions.  And in this issue a father’s love takes him once again down the road to Hell.  Kara can live again.  The I’Noxians have the technology to reconstitute her, but that would require the rebirth of the Cyborg Superman.  Writer Michael Alan Nelson writes a compelling version of Zor-El, eldest son of the House of El, and dedicated scientist.  His love of his family and his people forced him to seek help in the most dangerous places if even the slightest chance of survival exists.  Ending this issue, Kara comes face to face with the cosmic entity known as the Oracle, heralding the beginning of the “Krypton Returns” storyline beginning with Action Comics Annual #2. After the lead ins to this event dropped in both Superman #0 and Supergirl #0 last September I have been waiting on pins and needles to see the resolution as to how Superman and Superboy could have been on Krypton prior to its destruction.  In a little over a month we will have the answer.

    Behold the Oracle.

    Behold the Oracle.

  • Red Hood and the Outlaws #24 brings about the final showdown in ‘Eth Alth’eban between the League of Assassins, guardians of the Well of Sins, and the Untitled, ancient embodiments of evil born from the Well. Jason has been chosen to be the leader of the League and fights to stave off the assault that could result in the end of all things. Jason proves to be an adept disciple of the Batman, exhibiting the same ingenuity and resolve against forces far beyond his measure.  Indeed, that is most likely why the League chose him as their leader.  On the other side of fight, Roy Harper also is shown in a revealing light.  Previously, Roy helped the Untitled breach the impenetrable walls of ‘Eth Alth’eban under the understanding that he would be freeing Jason from a pack of vipers (which the League of Assassins are) and saving the world.  That last part wasn’t true at all, which he realized too late.  However, in his moment of reflection on his deteriorating relationships with Jason and Starfire he manages to capture the sympathy and last throbs of human compassion in the heart of the assassin, Cheshire, who in previous DC iterations was the mother of his daughter, Lian.  James TynionIV’s writing of this series is pretty good, although admittedly he has a long way to go to measure up to his predecessor and the series’ creator, Scott Lobdell.  Lobdell created the Untitled, so Tynion’s wrapping up of the fabled cabal begs the question of what Lobdell’s original intentions were for them.  Other than that, the issue comes off very well and reintroduces a venerable figure in Batman lore to the New 52.  Julius Gopez continues his phenomenal work as artist on the series, adding weight and substance to the Tynion’s scripts though his very expressive artwork.  Every emotion is blatant in his lines immediately immersing the reader in the agony and ecstasy of the book’s cast of characters.  Definitely and enjoyable book and a series worth picking up.

    The Heart of Chesire.

    The Heart of Chesire.

  • Vibe #8 dives head first into the wellspring of Cisco Ramon’s powers.  Vibe, as he’s been called, got his powers when he was caught in the event horizon of an Apokaliptian Boom Tube during Great Darkseid’s invasion of our world.  As a result he is attuned to extradimensional vibrations and able to sense and counteract beings from other dimensions.  Up to this point his powers were uses to detect intruders and refugees from other planes and if necessary, combat them.  After being wounded and sucked out of our dimension he begins leaking that energy the Boom Tube endowed him with, hurtling him from dimension to dimension with no control.  In the background as he cascades through all existence are little easter eggs from the two year run of the New DCU, including the recent fight between Green Lantern (Alan Scott) and Bruutal on Earth-2, the Phantom Zone, President Superman from Earth-5, and the gemworld of Nilaa that we last saw in the now cancelled Sword of Sorcery title.   It is while defending Princess Amethyst from the Quartz Hordes that the enigmatic figure called Breacher finds Cisco and puts a patch on his wound that stabilizes his dimensional radiation.  He takes Vibe to his own world, Piradell, and tells of the history that lead to its subjugation by the despotic Queen Mordeth and how that ties back to the same event that gave Cisco his powers.  At the same time that Cisco was imbued with interdimensional energies the Boom Tube collapsed on his elder brother, Armando.  They always assumed that Armando died, when he actually became a creature like Cisco and upon landing on Piradell gave Mordeth the means to subjugate that world.  Now Breacher and Cisco need to save Piradell, Armando who is under the thrall of Mordeth, and Mordeth’s daughter, Gypsy.  Sterling Gates has done the seemingly impossible, making Vibe a good character.  His original iteration in the Justice League Detroit comics was a joke at best.  Now he is substantial, thoughtful, and endowed with a sense of consequence in the larger scheme of the emerging DC multiverse.  Back in the day, the Flash was the keymaster to the multiverse, having the ability to vibrate though realities from Earth to Earth.  While Flash still has that ability, Vibe is pretty much made to solely be the custodian of opening the gates off our Earth, but also keeping those that breach from remaining.  With that in mind, and with the multiverse slowly blooming in emerging DC plots, Vibe is a character to watch.

    From the Icy Plains of the Phantom Zone to the Steps of President Superman's Capitol.

    From the Icy Plains of the Phantom Zone to the Steps of President Superman’s Capitol.

  • Pandora #4 opens in the aftermath of Forever Evil #1 with Pandora, who was present when the Outsider (Earth-3 Alfred Pennyworth) opened the box that bears her name, finding herself transported to a desolate world littered with bones.  Earth-3.  The Birthplace of Evil.  The only living thing she encounters is the blind and mortally wounded J’onn J’onzz (Martian Manhunter) of that reality.  Through his rhetoric she become aware that the Crime Syndicate intend to do to our Earth what they did to this one.  When she returns to Earth-1 she hatches a plan.  First she entrusts a friend with the mission of reforging Pandora’s Box from the shattered remnants left after it opened the portal to the place of its birth, letting the CSA into our dimensional plane.  The next step is getting her OLD friend Vandal Savage to give her the means to infiltrate the Secret Society meeting in order that she can get at the man known as the Outsider.  What she intends to do with him remains up in the air, but that only ropes the reader into buying next month’s issue.  I’ve made no secret that I am not a fan of the writing style of this series’ writer, Ray Fawkes, but it can’t be denied that this issue is very well done and an integral tie-in to the overarching Forever Evil event going on throughout the DCU.  Series artist Francis Portela is always a delight with his lush artwork that has been seen in Legion of Superheroes (LONG LIVE THE LEGION!) and last month’s Killer Croc issue in the Batman & Robin title.  Whether the success of this issue is predicated on Fawke’s writing or the tent pole Forever Evil plotline remains to be seen, but until that event wraps in March this series will no doubt carry its weight in realizing the full measure of Earth-3 and absolute evil.

And there you have it.  An awesome week of comics that overall exceed the mark of this comic book geek.  Here’s hoping next week measures up the same.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.

Illustration Credits:

Justice League of America #8:  Drawn by Doug Mahnke, Colored by Hi-Fi & Gabe Eltaeb, Inked by Christian Alamy, Tom Nguyen, Keith Champagne & Marc Deering.

Forever Evil: Rogues Rebellion #1:  Art by Patrick Zircher, Colored by Nick Filardi.

Batman & Robin #24:  Drawn by Patrick Gleason, Colored by John Kalisz, Inked by Mick Gray.

Batman/Superman #4:  Art by Jae Lee, Colored by June Chung.

Batwoman #24:  Art by Trevor McCarthy, Colored by Guy Major.

Supergirl #24:  Drawn by Diogenes Neves, Colored by Guy Major, Inked by Marc Deering.

Red Hood and the Outlaws #24:  Drawn by Julius Gopez, Colored by Nei Ruffino & Hi-Fi, Inked by Walden Wong & Ray McCarthy.

Vibe #8:  Drawn by Andres Guinaldo, Colored by Brad Anderson, Inked by Mark Irwin & Marc

Week 88 (May 8, 2013)

  • Batman #20 concludes the second installment in a two issue arc of writer Scott Snyder’s exploration of the character Clayface.  Clayface has achieved the ability to completely mimic, right down to DNA scans, the people with whom he makes physical contact.  In the case of this issue, set up by the conclusion of its predecessor, he has taken on the persona of Bruce Wayne and seeks to impugn the noted Gotham billionaire and philanthropist.  It’s a short story, considering its division over just two issues, but has all the characteristic intelligence, insight, and scientific elaboration that Scott Snyder is renown for in his works.  Here, however, the plot seems a bit hard to hold on to.  Perhaps it is because it lacks the epic scope of his previous “Court of Owls” and “Death of the Family” arcs.  Obviously Batman has run of the mill cases that are by comparison more arbitrary to these overarching events, but they do cast a long shadow on the lesser plotlines.  Snyder does, however, put in an impossible escape for Bruce to elude in this issue in order to maintain his secret and his life, as well as stop the polymorphic villain.  With June’s “Batman: Year Zero” Snyder will be starting another long term story in the Batman title that has all the promise of innovation and long term canon making.  I very much look forward to it.  In the backup feature, writer James Tynion IV concludes his two part story, “Ghost Lights” with Superman and Batman banishing a Will-o-the-Wisp that was accidentally summoned by kids meddling with magicks beyond their comprehension.  A decent story, but not one of Tynion’s best.

    Bruce Wayne and the Batman

    Bruce Wayne and the Batman

  • Batman & Red Hood #20 brings Batman another step closer to complete collapse.  Following the death of his only child, Damian, he has sunk into a psychotic meloncholy the likes of which has never been seen in the Dark Knight’s many titles.  Like last issue a former Robin steps in to fulfill the “robin” portion of “Batman & Robin.”  Here Jason Todd, the Red Hood, prepares to leave the mansion after the events of Red Hood and the Outlaws #18.  Batman stops him and requests that Jason accompany him to the Magdala Valley in Ethiopia to take down a syndicate of international assassins, some of which responded to the hit put on Damian by Talia Al-Ghul.  The mission actually looks to heal the rift between the former mentor/protegee.  However, as with Batman and the most volatile of his sidekicks, the rift can never truly be closed and the attempt threatens to deepen said rift.  Altruism isn’t Batman’s forte and being played (especially after learning the Joker’s part in his tragic existence) is the last thing that Jason is going to put up with.  Peter Tomasi writes this series exquisitely, really playing off the Bat family’s intrinsic traits and flaws to craft a very engaging, emotional drama amid one of the most tragic events within the Batbooks in recent years.  Also in the background is the continued presence of Carrie Kelley, begging the question of whether she indeed is going to take her place as the first official female Robin in the history of the Bat titles.  Every aspect of this book is amazing.  Read it.

    Old Wounds Made Fresh

    Old Wounds Made Fresh

  • Justice League of America #3 picks up following the JLA’s encounter with the robotic versions of the Justice League as built by Prof. Ivo.  These mechanical menaces push them close to their limits while at the same time making them rely on eachother for the first time as a cohesive team.  However, as the team dynamic gets ironed out certain members find their roles to be not quite what they expected.  Green Arrow, after risking his life to expose the Secret Society, is cut loose.  Courtney Whitmore, aka Stargirl, finds herself as a mere mascot and a showpiece member of the team.  Catwoman learns that as a known criminal she is on the team as bait for the Secret Society to latch onto.  Geoff Johns is trending this title in an interesting direction.  It has a darker tone and with the characters and plots he is working with it fits perfectly.  His attempt at darkening the Justice League and shaking things up in that title was initially awful and at present merely passable.  David Finch’s artwork on this title is perhaps the most engaging aspect, really setting the tone and the ambiance.  In the backup feature Matt Kindt shows the revelations granted to both Catwoman and Martian Manhunter when the latter delves into Catwoman’s mind.  He sees her past and what drives her and by virtue of that she is also granted a glimpse at his life on Mars and a quick look at who he is.   Overall, this title is one that seems to have a great amount of impact on the course of the DCU as well as some very interesting and innovative plots.

    Dissent in the Ranks

    Dissent in the Ranks

  • Superboy #20 jumps back in time two months, returning to the introduction of Superboy to the rebooted Dr. Psycho, now seemingly a young boy, teenaged at the oldest.  In Superboy #18 Psycho merely followed Superboy, marvelling at his power and seeking to feed off his telekinetic potential.  In this issue the two characters finally meet and find themselves forced into a shaky alliance of mutual benefit.  Being attacked by a purple ox-like bruiser named Dreadnaught and a green alien looking guy named Psiphon, we are informed through intimation that Dreadnaught, Psiphon, and Psycho are all part of an organization called “H.I.V.E.” and that Dr. Psycho, or Edgar, is a drone in H.I.V.E. that has escaped.  New series writer Justin Jordan takes over the title in this issue from former writers Scott Lobdell and Tom DeFalco with the help of regular series artist R.B. Silva and guest artists Kenneth Rocafort and Chriscross.  It feels like he picked up the ball mid-air, but Jordon’s work seems conistent with his two predecessors, ensuring the quality we have enjoyed thus far and looking to end in a slam dunk.  Also the “H.I.V.E.”  plot looks to spill over into the Superman title as well, which is penned by Lobdell so that is ramping up to be a must read event.
  • Ravagers #12 provides the final issue of this short lived Teen Titans-esque series.  Really it seemed like a “Teen Titans East” kind of title, but with a distinct edge.  These superpowered youths came together not out of common goals, but as a means of protection as they flee the grasp of N.O.W.H.E.R.E. and its sinister overarchitect, Harvest.  This issue shows how fleeting their goals of freedom are.  Last issue Harvest dispatched Deathstroke, the world’s deadliest assassin, to hunt down the escaped Ravagers as well as the two Ravagers who tried and failed to retrieve their errant comrades, Rose Wilson (Deathstroke’s own daughter) and Warblade.  In the end, this series didn’t conclude on a happy note, but it didn’t end on a completely sad one either.  With few exceptions, the cast of characters lived to see another day and a new status quo was set up for many of them.  The fate of Terra and Beast Boy looks to be a perfect setup for a “Judas Contract” plotline, as well as Raven and Beast Boy entering into the Teen Titans title reminiscent of their original membership in the New Teen Titans title in the early 80’s.  And most of all Caitlin Fairchild’s history is revealed giving some very intriguing possibilities for her future in other ongoing series throughout the DCU.

    A Fateful Encounter

    A Fateful Encounter

  • Demon Knights #20 begins a new arc following the conclusion of the “Army of Cain” plotline.  The Demon Knights have helped the Amazons beat the vampiric hoard of the First Damned from the shores of Themyscira and now convalesce after a hard fought battle.  The most pure of them, Sir Ystin, the Shining Knight, had been bitten and now stands on the verge of being turned.  Exoristos is welcomed back by Queen Hippolyta who had exiled her years before.  The new goal of the Knights is to retrieve the Holy Grail from its hiding place and Hippolyta says she can help.  Writer Robert Vendetti resumes the startling factoid of how the Amazons procreate.  I think that it was startling enough when Brian Azzarello first introduced the concept of the Amazons as rapist murders, but the playful way they make light of it in this issue just makes it all the more disturbing.  Anyway, one of the sailors the Amazons raped and murdered in the past told of the location of the grail and it was chronicled in a log book.  Mixed feeling about this issue and this series. 
  • Threshold #5 opens on a very interesting, precarious predicament.  The Collector, whom we know as Brainiac, has descended on the main world of Lady Styx’s dominion, Tolerance, and absconded with a small portion of it.  Left in its place is a gaping wound in the otherwise sprawling urban landscape.  Styx brokered a decent deal with Brainiac and so unlike other worlds he visited, Tolerance remains intact and otherwise unmolested.  The catch is that the residents of the selected area are not to be warned of their impending abduction.  As a result, the disgraced Green Lantern Jediah Caul and space pirate Captain K’Rot find themselves trapped in one of Brainiac’s fabled bottles.  One thing that has been apparent about this series from the first issue was the scope.  Threshold spans over a wide array of characters all being hunted by citizens of the Tenebrian Dominion in a reality show based sport killing.  This issue follows closely the character of Jediah Caul, really focusing in on him as a character.  Since he first showed up in Green Lantern: The New Guardians Annual #1, Caul has been depicted as nefarious.  However, the green lantern ring he wields chose him for a reason.  This issue may not reveal that reason per se, but it does cast a very intriguing look at the former Green Lantern and how he is willing to resolve issues such as the one he has landed himself in.  His answer to this particular dilemma is not one that would immediately come to mind when imagining a typical Green Lantern’s response, but there is some method behind his madness.  Keith Giffen yet again weaves a fascinating cosmic tale in a far reaching odyssey.  And in the final installment of his Larfleeze backup feature Giffen finally reveals what happened in the first installment five issues ago as well as the way in which the departed Guardian, Sayd, perpetrated the perfect crime.  Once all the shadows have been lifted from the proceedings the plot itself is amazingly well crafted and ingeniously executed.  Giffen has a talent for complex, multifaceted storytelling and this five part story of the sole Orange Lantern showcases those talents brilliantly.  So much so that the story will move on from here into its own monthly title.  Both Giffen and Larfleeze deserve nothing less.

    A Whole New Perspective

    A Whole New Perspective

  • Smallville Season 11 #13 begins a new arc that explores heavily one of the barely tapped gems of the “Smallville” TV series: the Legion of Super-Heroes.  It also returns Booster Gold, his computerized aide and sidekick Skeets, and to a smaller degree Blue Beetle.  Clark, as of last issue, has shed the radioactive isotope Lex placed in him that effectively separated him from Lois for months.  Now he is torn from his fiancee again when Booster Gold’s stolen Legion of Superheroes ring malfunctions due to a coded distress signal transmitted through time to it.  In the 31st century Earthgov has turned against the Legion and they find themselves in a bind.  This comes as the result of a new sister planet to Earth, New Krypton, arriving in our solar system.  That world was created by Clark in the ninth season of the series as a home for the Kryptonians under the command of Zodd following the that season’s finale.  The arrival of a planet of superpowered beings puts Earthgov on its heels, turning public sentiment and policy against superpowered beings and certainly the alien members of the Legion.  Clark comes forward and attempts to adjudicate the issue.  Going in, he encounters a newer character to the actual Legion of Super-Heroes pantheon, Earth Man, Kirt Niedrigh.  Niedrigh is the a government minister in possession of a high value prisoner that Clark aims to release.  The identity of that prisoner brings about another resurrection from the show’s illustrious canon.  This issue very aptly introduces a new arc while also emboldening the past of both the comic series itself and the television show that inspired it.

 

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

Illustration Credits:

Batman #20:  Drawn by Greg Capullo, Colored by FCO Placcencia, Inked by Jonathan Glapion & Marc DeeringDanny Miki

Batman & Robin #20: Drawn by Patrick Gleason, Colored by John Kalisz, Inked by Mick Gray & Mark Irwin

Justice League of America #20: Drawn by David Finch, Colored by Sonia Oback, Inked by Richard Friend & David Finch

The Ravagers #12: Drawn by Diogenes Neves, Colored by Tony Avina, Inked by Vincente Cifuentes

Threshold #5:  Art by Tom Raney, Colored by Andrew Dalhouse

 

Week 85 (April 17, 2013)

This week is a week of great flux in the DC Universe bringing change within and without the various series.  New writers come onboard, characters lives alter invariable, and in the case of Nightwing and Teen Titans, the artists play the swinging game swapping partners to try their hands at new characters and stories.  It’s truly an exciting time to be a DC fan, as these changes push the envelope of storytelling and innovation.  So here they are:

  • Justice League #19 introduces the two new members of the Justice League:  Rhonda Pineda (the new, female Atom) and Firestorm (whose series is being cancelled with May’s #20 issue).  Stuck alone in the Watchtower, waiting for their new teammates to initiate them into the League, they find themselves in a trial-by-fire situation.  On Earth, keeping them from meeting their newly recruited rookies, Batman goes to have a chat with Superman and Wonder Woman who have taken it upon themselves to insert themselves into a tense geopolitical situation.  Batman, though cold and calculating, understands that the world is growing distrustful of the League and violating political borders, no matter what the reason, does nothing but kick hornet nests and ruffle feathers.  I have to say that Geoff Johns really doesn’t portray Superman or Wonder Woman in a good light.  Wonder Woman is shown in a very fascist light and Superman, though opposed to her views, goes along with it because his girlfriend wants him to.  Compelling characterization, truly.  The issue also features a mysterious assailant breaking into the Batcave to steal a package Batman developed to take out Superman.  Considering the events of this issue, Johns’ version of the Man of Steel kind of deserves a few knocks to the head to maybe knock some sense into him.  In the backup feature, I may be forced to eat crow.  I’ve had very few good things to say about the SHAZAM backup or its version of Billy Batson, but after Johns reveals Black Adam’s history in ancient Kahndaq he seems to give validation to what he did with Billy, giving him the understanding to deal with Black Adam from a place of mutual understanding of why he is doing the things he is with the power the Wizard gave him.  Geoff Johns may be able to pull this one out of the toilet.  I say may.  Jury is still out.

    The Corruption of Power

    The Corruption of Power

  • Green Lantern: The New Guardians #19 picks up right where Green Lantern #19 left off with the destruction of Sinestro’s homeworld, Korugar.  Of course when Kyle shows up with a white ring on his finger, Sinestro demands that he restore his planet and his people from the apocalypse the First Lantern unleashed.  Kyle remains uncertain and Sinestro resorts to violence.  While many would demonize him for this reaction it should be noted that Hal Jordan reacted similarly in the wake of his hometown, Coast City’s, destruction and as a result snapped Sinestro’s neck and murdered the Guardians and half the Green Lantern Corps.  Sinestro in comparison is behaving himself quite admirably.  Simon Baz, the newly minted GL of planet Earth comes on the scene and all three Lanterns attempt to do the impossible, taking turns with the white ring to bring back the decimated world.  Kyle tries and fails, the ring won’t even allow Sinestro to put it on, and Simon Baz tries to replicate his feat of will that brought his brother-in-law out of a coma, only to be refused by the ring.  For good or ill, the Life Force of the white energy deems that Korugar must remain destroyed.  Like the two previous GL titles this month, New Guardians #19 sets the stage for the massive Green Lantern #20 next month with the cast of players taking position.  Its going to be a blowout issue that will go down in history.  Mark my words.

    The Return of Fear

    The Return of Fear

  • Batwoman #19 is an extended period of adjustment.  After the conclusion of the Medusa mega-arc a lot has changed in the Batwoman title and as a result the characters are having to reacquaint themselves with one another and the situations that have arisen from the fallout of the first seventeen regular issues.  Maggie and Kate’s relationship has taken a dramatic turn following Kate’s revelation that she is in fact the Gotham city vigilante known as Batwoman.  After all, in the course of doing her duty as a policewoman Batwoman shot Maggie full of a concentrated Scarecrow fear toxin that continues to plague her with horrific nightmares.  It is also her job to apprehend such vigilantes.  So yeah, their engagement is rather complicated legally and emotionally.  Kate’s father, Jacob Kane, has his own crosses to bear in his dual life as the father of Batwoman  and loving husband with his wife Katherine’s discovery that her stepdaughter, Kate, and niece, Betty, moonlight as crimefighters with Jacob’s help.  Thus another strained relationship.  Jacob also lets slip that he may have a son.  However they rationalize it, the hinting is that this son is Director Bones of the D.E.O.  Considering that Bones is using Jacob as a bargaining chip to gain Batwoman’s compliance to D.E.O. operations and that he referred to Alice as “sister”, I’d say that there is some seriously oedipal stuff going on there.  And as for Cameron Chase, the hard edged D.E.O. agent begins to have a crisis of conscience and goes to her sister to find resolution to her conflicting drives.  Overall, J.H. Williams III and W. Haden Blackman have made this title both action packed and introspectively thoughtful.  This continues to be one of the hallmark titles in DC’s current lineup.
  • DC Universe Presents #19 delivers its final presentation of the New DCU spinning out of the first four issues of Swords and Sorcery and bringing Beowulf into our present (his past) as summoned through a mystical artifact.  Preceding him is a shapeshifting beast called the “Puca” that runs amok with the intention of conquering the Age of Heroes and enslaving humanity.  Though logically it would change the timestream and corrupt events in her time, Beowulf concludes that the “sorceress” we’ve met under the relative name of “Grendel’s Mother” sent the Puca back to lure the legendary Geat from that time in order that she could conquer the Danelaw unimpeded.  Helping Beowulf find the Puca and get back to his own time is the beautiful archeaologist Dr. Gwendolyn Pierce.   This issue, though pretty straightforward and insubstantial by itself, was a pretty fun read for those that enjoy the original legend of Beowulf and the reinterpretation of it as done by this issue’s writer, Tony Bedard.  My hopes are that this concept will be revisited one day, because to me the Beowulf backup feature was superbly done and intriguing to read.  It may not have been popular, or at least not popular enough to continue in its own book, but I can dream.  The backup in Sword of Sorcery was drawn by Jesus Saiz, but this issue featured art by Javier Pina that was very soft, with lovely rounded lines, making it all the more enjoyable.  Man, I hope they continue on with this series . . .

    He's No Hero, He is BEOWULF!!!

    He’s No Hero, He is BEOWULF!!!

  • Legion of Super-Heroes #19 brings the next chapter in the off-the-rails storyline by writer Paul Levitz that re-establishes the defunct supervillain team, the “Fatal Five.”  So far, Tharok has plunged much of the United Planets into utter chaos by corrupting all technology powered by quark relays which accounts for 99.9% of it (I’m guessing on that figure, but its not far off), and in this issue Emerald Empress descends on Webber World, an artificial planet made entirely out of metal and machinery that runs ENTIRELY on quark relays.  That said, there is no way for the residents there to defend themselves against her psychotic assaults.  Cue  the entrance of Mon-El, the Legion’s Daxamite, and the Webber Worlders’ last hope.  Levitz holds nothing back in this storyline. The Fatal Five are back and they are playing for keeps.  Levitz began this arc with the death of a beloved Legionnaire and this issue finds the rest standing on infirm ground.  The sheer scope of the story is mind boggling, spanning the width of the United Planets and inflicting fear and death the likes of which we’ve not seen since Levitz’s “Great Darkness Saga” back in the early 1980’s.  Good to see that the master hasn’t lost his touch, nor his ability to spin quintessentially relevant Legion lore.  Starting this journey with him on issue #17 was his former partner from the aforementioned 1980’s opus, artist Keith Giffen.  Last issue and this one had art provided by Scott Kolins.  Kolins is a phenomenal artist, but put beside Giffen’s work it took some of the magic away.  Regardless, this is a series to read. Period.
  • Red Hood and the Outlaws #19 represents a paradigm shift on two levels.  Firstly, it should be noted that Scott Lobdell, writer extraordinaire who’s initiated some of the best titles in the New DCU (Teen Titans, Superman, Superboy, and this title), has moved on after a stellar run reinventing Jason Todd, Starfire, and Roy Harper, while simultaneously introducing incredible new concepts and characters like Essence, the All-Caste, the Untitled, the Thirteen Scions of Salvation, to name only a few.  The good news is that he is replaced by up-and-coming writer James Tynion IV, who’s work on the backup features in the Batman title as well as the series Talon have been incredible.  Joining him is artist Julius Gopez, whose art is as detailed as original series artist Kenneth Rocafort, but with its own unique style.  That said, the stage is set for an incredible issue as the new creative team descends into the quagmire left after the “Death of the Family” mega event felt throughout the Bat-family of books.  Jason Todd has been through a lot, and despite developing a hard exterior, weathered it pretty well.  With Lobdell’s revelation that the Joker was the architect of much of his misery, Jason is left in a very compromising situation.  Following that, he disappears and his friends, Starfire and Roy, try to find him to offer their support.  They track him to the Himalayas and while searching are set upon by two former acquaintances of Jason’s: Ducra and Essence.  Both transcendental forces, they attempt to influence the course of Roy and Koriand’r’s journey.   With his limited  knowledge gained from observing Jason’s meditation and use of Eastern rituals, Roy is able to weather his innermost demons, roused by Essence, to find the path to helping his friend.  However, after all of the pain and hardship to find their comrade, Jason throws a curve ball.  Tynion proves his understanding and mastery of comic writing here with some really poignant storytelling that doesn’t break stride from the tone and pace set by Lobdell.  Jason, Roy, and Starfire are very complex characters that are flawed beyond belief, but when written well are made all the better because of their imperfections.  Tynion writes them that way, and his partner in art renders them beautifully.  This series looks to be in good hands and I for one am breathing a sigh of relief that Red Hood and the Outlaws have found themselves in capable hands.

    The Color of Friendship

    The Color of Friendship

  • Nightwing #19 endures his own paradigm shift like Jason, his successor to the Robin title, did in the above book.  Though continuing to be written by Kyle Higgins, longtime artist Eddy Barrows has gone to Teen Titans and that series’ artist, Brett Booth, begins his run as artist on this book with this issue.  Coinciding with Booth’s jumping on point, Dick Grayson jumps ship from the tragedy that befell him in Gotham following “Death of the Family” and begins a new life in Chicago, searching for Tony Zucco.  Zucco is the supposedly deceased mobster that killed Dick’s parents, but also the father of his pseudo-girlfriend, Sonia Branch.  A complex situation to be sure, but one that Dick cannot overlook.  Though it dredges up harsh memories of the past, Nightwing has to seek out Zucco if he  ever hopes to attain closure on one of the seminal moments of his life.  The issue follows Dick settling into the Windy City and familiarizing himself with its underworld in order to get information on  Zucco.  It also introduces the “Prankster.”  Higgins imagines him almost as an anti-hero rather than the Joker-like Superman villain he was originally written as.  Here Prankster forces a corrupt millionaire to burn his money to prolong his survival when trapped in a room with wolves.  The chances of the man surviving the encounter are very decent, but he is forced to pay monetarily for the privilege.  Not supervillainous, but at the same time not heroic.  Higgins and Booth have created a very compelling first chapter for the new chapter in Dick Grayson, aka Nightwing’s life.

    Why So Serious?

    Why So Serious?

  • Supergirl #19 finds the Girl of Steel captive after a weakness overcomes her, probably due to her former kryptonite poisoning at the end of the “H’el on Earth” arc.  And as introduced last issue, Karen Starr, aka Power Girl  comes onto the scene, drawn by an unknown force to her Earth-1 self’s rescue.  In Worlds’ Finest she has gone out of her way to avoid meeting Kara, as she has no idea what it would mean meeting her alternate self.  Here she has no choice but to help “herself” and in the process writer Mike Johnson does something very interesting with the two halves of the same person.  When they meet and touch hands, instead of reality unraveling as quantum physicists project in such an unlikely event, they instead become of one mind, literally sharing their memories and thoughts.  After that instant they operate like a well oiled machine to put down a mutant freak that Lex Luthor sicced on them from his ultra-security prison, via neural implant.  Johnson does a really excellent job writing this story in a way that not only advances the title character, but the character of Power Girl from across the New DCU.  As is wont to happen with her, Power Girl’s costume is torn to shreds as she helps get the weakened Supergirl back to her sub-aquatic fortress of solitude, Sanctuary.  Within, Sanctuary ascertains her need and spins her a new costume from more durable Kryptonian fibers.  However, the costume it gives her deviates from the more PC, full body suit to the former skimpy unitard with the “convenient” hole in the chest that serves no other purpose than to display her cleavage.  Also, Mike Johnson makes ample use of this singular event of two genetically identical Karas  to play a very interesting scenario predicated from the taboo of cloning in Kyptonian culture.  Overall, a very interesting, thoughtful, action packed issue.

    Two Reflections of One Super Woman

    Two Reflections of One Super Woman

  • Vibe #3 takes Francisco Ramon further down the uncharted path his powers have placed him on.  Recruited by A.R.G.U.S and Amanda Waller for the Justice League of America, he is starstruck and wanting not only to make a difference, but find purpose following the horrific event that gave him his powers while simultaneously taking the life of his eldest brother.  From the perspective of such a kindhearted, idealistic young man like Cisco, that is completely understandable.  What he doesn’t know is that Waller put him on the JLA roster because he is theoretically the only being on the planet whose powers would allow him to neutralize the Flash’s speed abilities which come from an other dimensional force, which we know from The Flash to be the “Speed Force.”  So with that as the goal, how does one test that hypothesis?  If you want to fight an unknown creature the best way is to first try your hands against one of its young.  So Cisco is sent up against Kid Flash, aka Bart Allen, of Teen Titans fame.  Their meeting is morally mixed and hints very cryptically about the past (our future) of the younger speedster.  While Cisco begins by attacking Kid Flash, he is unable to continue on his belligerent path as Kid Flash does not behave in a way that engenders antagonism.  The events as I said before are very cryptic and morally ambiguous and begin the questioning of Vibe as to what his real purpose is and whether or not he can trust the people that are giving him orders.  I had my doubts about this book in the beginning.  Damn you, Geoff Johns, you got me!  Johns and cowriter Andrew Kreisberg started the series with the first two issues, but this third issue begins new series writer Sterling Gates’ tenure on title.  Gates is an incredible new voice in comics, so the title has gone from good hands to equally capable ones.
  • Wonder Woman #19 marks a nexus point in storytelling that promises a shift in the status quo.  The First Born has been systematically attacking those of his relatives that have been entrusted with his various implements of war.  This issue has him going up against Poseidon and fighting the god within his own leviathan belly.  Going up against his uncle, the two find themselves at an impasse and we see more of the twisted politics of the Greek gods coming into play as they make war and secret intrigues against one another.  However, for the First Born to achieve his ends he must cross paths with Zola’s infant baby, the last born of Zeus’s children.  To do that, of course he will have to go through Wonder Woman who has literally spent the entirety of this rebooted series protecting the baby from fetus to newborn.  As the title shifts to the Amazing Amazon and what she has been up to we see a major parting of ways.  Her Constantine-esque brother, Lennox, decides he is going depart the scene and in the midst of that departure, Orion runs afoul of Wonder Woman and leaves in disgust as well.  I’m not going to shed a tear on this departure, as Orion is a noble character and I feel that writer Brian Azzarello isn’t depicting him nearly as nobly as the son of Great Darkseid deserves.  Best to leave that to the more able pen of Scott Lobdell in Superman.  I will be interested to see how Wonder Woman fares against her eldest brother, the First Born, as he arrives in London in the very last panel of this issue.  Oh the anticipation . . .  She might yet regret the loss of an extra set of New God hands.  Oh well, pride cometh before the fall.
  • Sword of Sorcery #7 proves how incredible the main feature Amethyst is.  Last issue had the return of Eclipso, aka Lord Kaala, to the gemworld Nilaa.  After his return we are told that he was the result of a nightmarish blood marriage between House Diamond and House Onyx, hence his power totem, the black diamond.  With the powers of both houses gifted to him he was nearly unstoppable and almost brought ruin down upon all of Gem World.  But for Lady Chandra of House Amethyst he would have succeeded.  Now it lies with Chandra’s heirs, Lady Graciel, Mordiel, and of course Princess Amaya of the Amethyst clan to take him down once again.  They have their work cut out for them.  In the course of a single night, chronicled in this one issue, Kaala has murdered the head of House Citrine, retaken House Onyx from the noble Lady Akikra, and murdered the head of House Diamond taking its armies also under his power.  With one stroke he has regained all his strength and prestige from before his fall.  However, he still has many enemies including the fugitive Akikra who is as dangerous as a cornered dog, Prince Hadran of House Diamond, and of course the young lord and ladies of Houses Turquoise, Citrine, and Amethyst respectively.  The board is set for one hell of a showdown in Nilaa.  It will have to be, because sadly this title is being cancelled as of issue #8.  Next issue is the conclusion to all of it, and what a shame.  This was truly one of the best new series DC has put out.  It was fresh and unique from anything else that they had done, resurrecting a lesser known series and completely re-imagining it in a way that preserved the good, but innovated at the same time.  What a shame, indeed.  The backup feature Stalker on the other hand comes to its conclusion and good riddance.  As excellent as Amethyst is, Stalker is equally as terrible.  THAT is a shame, as the original series from the 70’s, only four issue unfortunately,written by the legendary Paul Levitz was incredibly good. It’s predecessor, Beowulf, which merited a special appearance in the above mentioned DC Universe Presents #19 was phenomenal.  I don’t even care to elaborate on how badly this Stalker series was dealt with.  Suffice it to say, this backup series did nothing to help the cancellation of this title.  It may have been a part of the anchor that dragged Sword of Sorcery below the water to its point of drowning.  Pity.  I will miss Amethyst  and Beowulf greatly.
    The Return of the King

    The Return of the King

     

  • Batman Beyond Unlimited #15 begins with the Superman Beyond feature.  Superman is rescued from the Trillians by the the bestial Mangals he liberated from enslavement upon his last visit to Trillia.  Whereas the Trillians view Superman as the terrorist who led to the fall of their society, the Mangals look upon him as a messianic figure.  This is made apparent when Superman sees them for the first time after all the intervening years.  When he liberated them they were small and helpless.  Now they are large and strong.  Apparently, the Trillians never let them grow to full maturity, but rather kept them young and worked them to premature death.  So once again, we the reader are shown a very divided society on Trillia between the over class and the bonded underclass.  Both sides want to eradicate the other, leaving a very morally ambiguous position for Superman.  Regardless of the heinous crimes of the Trillians as a culture, he cannot condone wholesale slaughter of all Trillians, yet at the same time he cannot stand idly by while the Trillians plan the same for their emancipated slaves.  This arc took a little while to reach maturity, but writer JT Krul has pulled this one out and made it into a very thought provoking storyline that raises questions about our own world and social systems.  Next up, in the Justice League Beyond Unlimited feature writer Derek Fridolfs begins a new arc with artist Ben Caldwell providing pencils.  In it the criminal organization known as the “Brain Trust” abducts children and places them in an elite prep school academy to brainwash them into becoming soldiers in an underground army.  The JLB sends their own agent, the “Golden Child”-like Green Lantern, Kai-Ro, in as a mole.  Once he is in the League tracks him to perhaps the most wholesome place in the entirety of  the DCU.  A place that makes Smallville look like a ghetto.  Fawcett City.  Ending in the middle of a fight, it is difficult to see where the story is going from here, but the concept of the “Brain Trust” is solid and I very much look forward to seeing where Fridolds goes in his script.  Lastly, the Batman Beyond feature fulfills a promise made over two years ago before the Reboot from the original Batman Beyond comic series.  Terry McGinnis’ best friend and confidante, Max Gibson, had attempted to infiltrate the network of cyber terrorists called “Undercloud” that were attacking Gotham’s infrastructure.  All of this without Terry’s knowledge.  Now she finds herself in the belly of the beast, integrally tied into Undercloud’s horrific plan to raze Neo Gotham and build it up from the ashes in their own image.  If she doesn’t comply, agents of Undercloud will kill those closest to her.  In the meantime, Terry is sent to a rock concert where a terrorist threat has been issued, although not by Undercloud.  Instead, its one of Batman’s old nemeses, Shreik.  Overall this issue was pretty quality in both storytelling and art.  For those that enjoyed the DC Animated Universe, this title stands as an ark to the legacy of many beloved TV shows.

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

Illustration Credits:

Justice League #19:  Drawn by Ivan Reis, Colored by Rod Reis, Inked by Joe Prado, Oclair Albert, Jonathan Glapion

Green Lantern: New Guardians #19: Drawn by Andres Guinaldo, Colored by Wil Quintana, Inked by Raul Fernandez

DC Universe Presents #19:  Art by Javier Pina, Colored by Jason Wright

Red Hood and the Outlaws #19:  Art by Julius Gopez, Colored by Nei Ruffino

Supergirl #19:  Art by Mahmud Asrar, Colored by Dave McCaig

Nightwing #19: Drawn by Brett Booth, Colored by Andrew Dalhouse, Inked by Norm Rapmund

Sword of Sorcery #7:  Art by Aaron Lopresti, Colored by Hi-Fi

Week 84 (April 10, 2013)

While reading this week’s batch of comics I recognized a theme of familial drama.  Fathers and sons, brothers and sisters, mothers and daughters, and even mothers and sons.  Several issues including BatmanBatman & RobinBatgirl, and Superboy focus on the tightly knit bond between parent and child and how that dynamic can cause one or the other to do some very drastic, unseemly things.  In the case of Batgirl, the elder Barbara Gordon is forced to choose between her kids.  Strangely, she does it pretty easily.  Batman goes over the deep end in Batman & Robin.  Superboy finds a tale not so much about the Boy of Steel, but rather a villain we’ve seen before whose villainous acts find purpose in a very overdue origin.  Needless to say, there is a deep wellspring of emotion present in this week’s issues, so without ado, here they are:

  • Batman #19 opens on a very unlikely scenario. Bruce Wayne robbing a bank and shooting several people dead.  Commissioner Gordon is on the scene and tries to rectify this very disturbing situation.  However, things are not what they seem and the plot goes back six days into the past to show the road that led us to this moment.  A similar event occurs with one of Bruce Wayne’s associates dying and yet walking around despite that fact.  Upon further inspection Batman discovers that one of his villains has gained an incredible new ability explaining the two men acting in seemingly impossible ways.  Scott Snyder’s run on this series has been really stellar, but his best work seem to fall under the two major arcs he’s penned thus far, “The Court of Owls” and “Death of the Family.”  This one was good, but not as good, lacking a sense of urgency or overall consequence.  In the backup feature, cowriter James Tynion IV delivers a tale of Superman and Batman delving into the supernatural.  Also not the best plotline, but not terrible.
  • Batman & Red Robin #19 pulls a gambit by revealing on its foldout cover the entry of Carrie Kelley as “Batman’s Partner.”  Not to spoil it, but it’s smoke and mirrors like so many of the things DC is printing on their oversized covers.  In this iteration of Batman lore, Carrie is a college student, not a spunky twelve year old, and a drama major who had been tutoring Damian in her spare time.  It’s questionable whether she’ll develop into an ongoing character in the Batverse, but in any event she’s been brought back into the fold from the tripped out microcosm of “The Dark Knight Returns.”  What this issue really is about and what we should pay attention to is the true depth of Batman’s loss and the desperate measures he’s been driven to.  Here he abducts Frankenstein for the sole purpose of taking him apart to discern how he was reanimated.  Since Frank is neither alive nor dead he is awake the whole time and through his evisceration tells Batman to stop the course he’s on as it will not be in his son’s best interest.  As the title insinuates, Red Robin is called in by Alfred to try and talk some sense into Bruce.  The jury is still out on whether or not that advice takes.  However, this issue continues to portray hauntingly the depths of emotions within the Dark Knight and showcase the humanity encased within his austere facade.  Series artist  Patrick Gleason draws it incredibly well, rounding out a stellar issue.

    A Father's Love

    A Father’s Love

  • Batgirl #19 welcomes back writer Gail Simone to the title and just in time for what turns out to be a killer conclusion to the story arc involving her little brother, James Gordon Jr.  James is an honest to goodness psychopath intent on hurting those closest to him.  His father, Commissioner Gordon, puts an allpoints bulletin out on him, but it’s his mother and his sister, Barbara, that end up having to deal with him.  Ray Fawkes was the writer on the past couple of issues, and while he did a decent job of showing James’ diseased psyche, the title languished a little when compared with Simone’s intimate, humanist stories told from Barbara’s perspective.  That comes through quite vividly in this issue, adding to the trauma she has already suffered from the Joker with the further trauma of growing up with a little brother who for all intents and purposes lacks a soul.  This issue concluded that dark episode, but presents a very heartbreaking consequence.  In between Simone accomplished two things of some merit.  First of all she revealed Batgirl’s identity to her mother, but most importantly she revealed that Barbara’s roommate Alysia is transgendered.  This issue proves Gail Simone’s mastery of comic writing.  It was heartfelt, personal, tragic, and also triumphant.  As long as she is attached to this title, Batgirl will be a series to pick up.

    A Mother's Love/Hate

    A Mother’s Love/Hate

  • Green Lantern Corps #19 is a very straightforward issue.  Volthoom the First Lantern has been going around torturing members of all the corps in an attempt to amass the power he requires to enslave the universe.  He’s tortured Guy Gardner.  As of last issue he’s tortured John Stewart and Fatality.  This issue begins his torture of the Green Lanterns located on Oa en masse, when a very familiar corpsman comes to their rescue: Mogo.  The planet Green Lantern comes to his embattled comrades’ aid just as he did during the Blackest Night, pulling them to his surface where he can protect them . . . or so it seems.  Once the Lanterns are on his surface they are beset by alternate versions of themselves imbued with negative energies: i.e. rage, greed, and fear.  All the time, though, Mogo is with them.  Mogo may not like to socialize, but is always there when the Corps is in need.  Peter Tomasi again delivers a strong Green Lantern Corps story that acknowledges its members’ weaknesses, but also the strengths that are born out of them.  The conclusion to this issue comes in just a few weeks in the apocalyptic Green Lantern #20.  I for one cannot wait.
  • Superboy #19 is actually a misnomer.  Though it is about Superboy in an ancillary way, the issue is actually an origin story for the ubervillain Harvest.  Born in the thirtieth century he is a soldier in the war that humans wage against the metahumans that have sought to enslave them.  The cause of this war goes back to Superman, and for that reason Harvest goes back in time and kidnaps the infant son that Superman has with Lois Lane.  That boy grows up under his guidance as a surrogate son to replace his biological child, killed in the war.  In his time, Jon Kent, as he was named, was afflicted with a genetic disorder stemming from his kryptonian/human heritage.  This condition rears its head again, threatening his life.  Harvest cannot watch another of his children die and that is why Superboy was cloned.  Him and the enigmatic N.O.W.H.E.R.E. operative, Templar, are attempts at perfecting the strange combination genome to heal his adoptive son’s life threatening condition.  After reading this issue, the reader is clued into who Harvest is and his logos for doing the horrible things he has done.  While one may not agree with what he is doing, you can sympathize with his pain and understand why he would undertake nightmarish schemes like the Culling.  Writer Scott Lobdell returns to this series to tell this tale of his insane arch-villain.  Considering the scope of Harvest’s reach into several series, this is an issue that cannot be missed.

    A Father's Love

    A Father’s Love

  • The Ravagers #11 continues on from Superboy above insofar as it shows the travails of the Ravagers created by Harvest’s Culling events as well as showing the lengths he will go to control them or silence them.  This issue is the penultimate issue of the series which is scheduled for cancellation next month with its twelfth issue.  Caitlin Fairchild’s Ravagers have taken refuge with the scientist Niles Caulder, but find themselves under attack on one side from Rose Wilson and Warblade, and on the other by Rose’s dad, Deathstroke.  With the end bearing down on the series and the stakes rising as they have it is very scary for those that have enjoyed this series and invested themselves in the cast of characters.  A few have already perished and its dubious whether they will come back like Thunder’s sister, Lightning.  I eagerly await the ending of this series to see if any of the Ravagers can make the jump to the Teen Titans or find their own way in the New DCU.  Here’s hoping.
  • Demon Knights #19 concludes, at least for the moment, the threat of Cain against the world with his vampiric horde.  Arriving at the shores of Themyscira, the Demon Knights show up in time to aid the Amazons in their battle with Cain’s forces, enlightening them on the proper protocols for dispatching the undead soldiers of the nights.  Under the surface of this issue writer Robert Venditti imbues several compelling developments for the main characters.  Exoristos, the exiled Amazon, returns to the home from which she was banished on pain of death.  The Demon is stuck on Earth because Jason Blood refuses to leave Hell.  Because Etrigan needs hellfire to replenish his energy Jason weakens his other half to show that he is stronger than anyone thinks by enduring Lucifer’s most heinous torments, just to spite the Demon.  What’s most interesting is that despite his love of torturing innocents, Lucifer loses his composure when he hears what Cain is up to on Earth and forces Jason to go back with genuine fear in his demeanor.  The final aspect is the Shining Knight fulfilling Merlin’s prophesy that she would fall to demonic forces.  She is bitten, but knows that it somehow fits into her ultimate quest to find the Holy Grail.  Queen Hippolyta (mother of Wonder Woman) knows something about its location, marking a turning point in the title to the next story arc.  Robert Venditti really takes this series forward in an almost indistinguishable manner from the first phase of storytelling by original writer Paul Cornell.  Bernard Chang’s artwork is fantastic and vividly portrays the medieval epic.
  • Threshold #4, like its previous issues, is fraught with myriad stories.  The main point of this issue is Jediah Caul and K’Rot racing to regain his lost power battery.  To make things more interesting, the area that it is located is scheduled to be shrunk and absorbed into Brainiac’s collective like the bottle Kryptonian city of Kandor.  Keith Giffen writes Caul into a very troubling predicament, which of course compels the reader to figure out how the rogue Green Lantern and his floppy eared friend can escape the clutches of perhaps the most coldly evil entity in the universe.  We’ll see.  In the penultimate chapter of Giffen’s “Larfleeze” backup feature, the culprit who stole the Orange Lantern’s vast hoard is finally revealed.  Giffen’s choice of thieves is quite appropriate and infinitely entertaining.  Across the board, Keith Giffen  and artists Phil Winslade, Tom Raney, and Scot Kolins, really are creating an effective cosmic epic for the New 52.  Giffen has a talent similar to Grant Morrison to create complex plotlines that can be read and understood on multiple levels and are accessible to most on at least one.  I genuinely enjoy each installment of his title.Threshold4
  • Batman: Li’l Gotham #1 was a really silly but entertaining kids series about the denizens of Gotham done by  writer/artists Dustin Nguyen and Derek Fridolfs in Nguyen’s classic inkwash technique.  In one, Batman’s villains gather for a meal at a fancy Italian restaurant on Halloween and Batman, who goes in for takeout, pays for everyone’s meals.  In the next story the Penguin leads an army of turkeys against their oppressors at the Gotham Thanksgiving parade.  Both are really simple, often comical tales of toned down versions of Batman’s most iconic characters. For something light and thoroughly enjoyable or for kids wanting a nice, nonthreatening place to begin a love affair with the world of Batman, this is the perfect title.
  • Saucer Country #14 delivers its concluding issue.  With the discovery that the “Voyager couple” are actors in a sound stage, the final threads of the conspiracy are pulled, unraveling the tapestry of lies that have been woven over the past sixty years by various groups, government agencies, and private individuals.  Arcadia Alvarado wins the presidency as the first Hispanic and female president as was predicted and as a result these revelations fall at her feet.  However, writer Paul Cornell doesn’t come close to weighing in on the actuality of whether or not there are aliens or wrapping up all the loose ends.  Arcadia and Michael were abducted in some way, but if not by aliens then by whom and for what purpose?  I am uncertain what I think upon the conclusion of this series.  The loose ends could just be a necessary evil as only so much of what we know of alien mythology can legitimately be explained by conspiracy and meta-science.  I choose to look at the excellent writing and the fantastically convoluted plots that twist and turn defying prediction or expectations.  It was a good run in that light and I applaud Cornell for the mastery of storytelling he employed in its composition.

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

Illustration Credits:

Batman & Robin #19: Drawn by Patrick Gleason, Colored by John Kalisz, Inked by Mick Gray

Batgirl #19:  Drawn by Daniel Sampere, Colored by Blond, Inked by Jonathan Glapion & Marc Deering

Superboy #19: Drawn by Diogenes Neves, Colored by Richard & Tanya Horie, Inked by Vincente Cifuentes

Threshold #4:  Art by Tom Raney, Colored by Andrew Dalhouse

Batman Beyond Unlimted #14: Drawn by Peter Nguyen, Colored by Andrew Elder, Inked by Craig Yeung

Week 80 (March 13, 2013)

This week was a somber one, featuring three Bat-titles, each paying homage to the fallen Damian Wayne in their own ways.  Batman and Batman & Robin both display the sorrow and anger of a father’s loss.  In Green Lantern Corps the First Lantern tortures John Stewart with the ghosts of his haunted past and the question as to what it was all for.  The Before Watchmen: Ozymandias series reached its end, heralding the dark events that comprise the original Watchmen series.  An excellent crop of comics.  So here we go:

  • Batman #18 transitions from one personal crisis to the next.  Issue #17 was the landmark, much talked about conclusion to “Death of the Family”, which in this blogger’s opinion failed to live up to its name.  This issue, completely unrelated to the aforementioned uber-plot of the Joker’s, opens on a Batman who has endured the death of his son.  Scott Snyder chooses to approach this tragedy from the outside, having the issue told largely from the point of view of the punk rock looking electrical genius, Harper Row, now obsessed with tracking Batman.  In her Bat-watching she sees a haggard, overwrought Batman hitting the criminal element harder than usual and making many sloppy mistakes.  Since she is not privy to his identity or his inner circle she has no idea about the death of Robin, nor the real life connection between Bruce Wayne and his son, Damian.  Thus we get an outsider’s perspective on how far he has fallen and how much Batman inspires the people whose lives he’s touched.  Harper turns out to be like an angel of mercy, reminding Batman that despite his loss, he isn’t alone and doesn’t have to suffer alone.  The backup feature, drawn by Alex Maleev, has Harper going to Bruce Wayne with a plan to help Batman, all the time under the assumption that they are two separate men.  Both halves of the Batman are touched by her thoughtfulness and her gesture might just begin to knit together the wound that has been festering in his soul.  Scott Snyder’s Batman seems destined to go down as one of the runs on the series, like Frank Miller’s Batman, the O’Neil/Adams Batman, and most recently, the Morrison Batman.  This issue’s guest artist, Andy Kubert, was also the artist who ushered in Grant Morrison’s historic run on the character that both introduced us to the character of Damian and set the stage for the heartrending death of that young lad seven years later.

    The Wisdom of Youth

    The Wisdom of Youth

  • Batman & Robin #18 is a silent, somber sonata for a son.  It took me a while to realize it while I was reading this issue, owing the engrossing artwork depicting heartrending images of parental loss, but there are no words.  The entire comic is a pantomime of Batman going through the motions to try and work past the pain of his son’s loss.  However, when someone that integral in your life is gone, their absence reverberates throughout your life in simple ways that normally aren’t noticeable.  The issue’s silence is broken finally with Batman finds a note from Damian, telling him why he left the safety of the Cave, which as we now know led to his death.  Damian was a very harsh character.  He was often very rude, conceited, gratuitously violent, but beneath all of that there was a thoughtful, empathetic character who was lost in a world he was unprepared to live in.  Since the Reboot in September 2011, this title has been basically Damian’s book.  Batman played a prominent role in its plots, but really it was a showcase for Damian to shine and be humanized.  Peter Tomasi did an unbelievable job making him a relatable, lovable character and Patrick Gleason drew it gorgeously.  The fact that the eponymous Robin from the title has passed on places this book in a very awkward position.  I am not sure where the title can go from here.  There is of course the concept of a possible resurrection coming down the pike (my guess is a Lazarus Pit), but speculation is all these come down to.  Another possibility would be the installation of Harper Row as a new “Girl Wonder.”   There hasn’t been an official female Robin in DC canon before and this might be a golden opportunity for it.  Either way, this issue’s heartbreaking to read for those that have come to love Damian and for those that want Bruce to be happy, even if only for a short time.  Goodbye, Damian.  May you finally feel some peace.

    The Grief of a Father

    The Grief of a Father

  • Batgirl #18 like the other Bat-books this month pays its respects to the departed Robin, who despite his surly, abrasive exterior found a place in the hearts of the various “family” members.  The mention in this issue fell a little flat in my opinion, but then again it doesn’t really fit into the storyline that writer Ray Fawkes has set out to tell.  I don’t mean to trash talk him or beleaguer a point, but I feel that if Gail Simone were at the helm of this arc she would have addressed this truly tragic occurrence in a very thoughtful, heartfelt way, as she has with Barbara Gordon since issue one of this phenomenal series.  But she’s not so we have to accept Fawkes’ blip and get on with the story of James Gordon Jr. attempting to murder those closest to him, saving Batgirl for last to truly torture the Dominoed Daredoll with her own limitations.  It’s an okay plotline, but not exactly up to snuff considering Gail Simone and Scott Snyder’s masterful handling of these characters in past plot arcs.  I know very little about Fawkes and his past works, but assume he might be newer to the writing scene than the aforementioned maestros, explaining his seeming nemishness in the story department.  Daniel Sampere draws the issue exceptionally making it visually stunning.
  • Before Watchmen: Ozymandias #6 brings to an end the saga of one of the the keystone characters of the Watchmen universe.  Adrian Veidt has already planned out his master scheme and in this issue we see how he executes it.  This issue, above all the others, shows how cold Ozymandias can truly be when he has his eyes on a goal.  His personal assistant, Marla, with whom he was also sexually active, dies mysteriously, albeit painlessly, because her knowledge of his enterprises was too sensitive.  He recruits the former villain, Moloch, into his fold and gives him a job that also will also terminate with his premature death.  He gathers the preeminent scientists, science fiction writers, and artists to his secret island in the tropics to put the finishing touches on the otherworldly horror that will usher in a world the likes of which has never been know.  The true impetus of the issue that spans the majority of its pages and concludes the series is the tension between the Comedian and Ozymandias.  They had tussled over the course of the six issues, but as was revealed by Alan Moore in the original Watchmen series, the Comedian came across the island and what Ozymandias had planned.  The most psychopathic man on the planet gets queasy upon the discovery of just what Adrian has planned, but also knows that it can’t be stopped.  All that remains at issue’s end is for Adrian to murder the Comedian which catalyzes Watchmen into being.  Len Wein had a very good relationship with Alan Moore, handpicking him to take over the Swamp Thing series that he himself created and wrote into a hit title.  Now Wein, albeit without Moore’s consent, has taken over one of the most important subplots of Watchmen and written it with breathtaking splendor.  Jae Lee is an artist that has a very gothic quality to his work.  Gothic is precisely the word I am looking for, because Lee depicts his subjects with almost no emotion despite the grand events rendered around them.  Adrian Veidt is cold and calculated with no emotion and looks to be like a god himself, resurrected from ancient Egypt.  Overall this series was one of the best put out, rivaled only by Darwyn Cooke’s Minutemen series in this Before Watchmen line of books.

    Behold His Work, Ye Might, And Despair

    Behold His Work, Ye Might, And Despair

  • Green Lantern Corps #18 has Volthoom descending on John Stewart and the Star Sapphire, Fatality.  Most of his attention is put on John, of whom many horrors have been visited, most of his own action.  His mother’s murder was out of his control, as largely was the destruction of Fatality’s homeworld, Xanshi, which both she and John had blamed him for, but the destruction of the planet Green Lantern, Mogo, as well as the killing of another fellow corpsmen, Kirrt Kallak, were very much his conscious decisions.  John is a man that makes the hard decisions without hesitation, because if he doesn’t they may never get made or worse one of his friends or loved ones will have to make them, damning themselves.  Volthoom of course tortures him by showing him that the universe doesn’t come crashing down if John wasn’t there to make the hard choices, killing those closest to him.  Peter Tomasi writes it well, really capturing the heart of a truly conflicted character.  Chriscross provides guest art on the issue that really brings out the extreme emotional distress evoked by the sadistic First Lantern.
  • Superboy #18 picks up in the aftermath of “H’el on Earth.”  Superboy attempts to make right some of his lesser wrongs when the villain Plasmus comes crashing into the bank vault wherein Superboy returns some of his ill gotten gains.  The fight between the Boy of Steel and the giant walking nuclear reactor is monumental, bringing the attention of a telepathic DC villain, Dr. Psycho, originally a Wonder Woman nemesis.  Melding psychically with Superboy, Dr. Psycho is able to dig into Superboy’s past, seeing his birth and the life he has led thus far.  At the end of the issue he goes into the depth of Superboy’s mind and finds Lex Luthor waiting in the inner recesses.  We’ve known that Lex was his human parent from previous incarnations of the character, but Scott Lobdell kept us wondering with his very different depiction of Kon-El.  In the end the issue there is a short episode of a female alien crashing in the Amazon rain-forest, chased by other aliens and rescued by Krypto the Superdog.  With the mention of the Eternal Ebon-Quad along with her black eyes, it can be surmised that she is a soldier in the service of Lady Styx, as seein the Blue Beetle and Threshold series.  Interesting things are happening within this title, so much so that Scott Lobdell came back on the title, cowriting with his successor, Tom DeFalco.  I, for one, very much look forward to seeing where Superboy’s writers are taking him.
  • Demon Knights #18 brings the hordes of Cain to the gates of Themyscira, home of the immortal Amazons, the most powerful race on Earth.  Now it stands to what remains of the Demon Knights to stand in the way of the vampirization of the only nation able to stand against Cain.  Previously Jason Blood had been muted by a powerful spell, preventing him from speaking the words to summon the Demon, Etrigan.  With the reemergence of Madame Xanadu his silence is lifted and Etrigan is once again released upon the world.  The power struggle between Jason and Etrigan reaches a new level showing what strengths and weaknesses these two halves of the same physicality possess.  Robert Venditti continues writing it in precisely the same vein as series creator, Paul Cornell.  Artist Bernard Chang remains in the trenches, drawing the title exactly as he has since before the writing change over.
  • Ravagers #10 has the title entering into the beginning of its endgame.  The series is two issues from cancellation and writer Michael Alan Nelson is pulling out all the stops.  Harvest has wanted the rogue Ravagers put down for sometime.  That has been the task entrusted to Rose Wilson and Warblade.  With the events of the past two issue in the wind, these two “loyal” Ravagers also find their necks on the chopping block and their assignment now put in the hands of Slade Wilson, aka Deathstroke.  I have to say, Deathstroke has been represented as a free agent and an anti-hero since the Reboot, but as of this issue I do not like him one bit.  Thankfully, his series is also getting cancelled in May, meaning he can go back to being the villain he was created to be.  In the camp of the Ravagers, things begin to look up.  A lost comrade is returned, a disfigured member is “healed”, and romance brews between two members.  It seems things are looking up, but with cancellation looming close on the horizon it could be a case of the brightest lights casting the darkest shadows.  I pray that the cancellation leaves most of our heroes still breathing, as they have been through hell and deserve to survive.

    Young Love

    Young Love

  • Threshold #3 continues to set the very intricate stage on the planet Tolerance, home of the “Hunted” reality series where dangerous criminals of the Tenebrian Dominion are set loose with a bounty on their heads for any citizen to collect if they can bring them down.  Private investigator, Starr Hawkins, is added to the cast, as is Lonar, a New God created by Jack Kirby in the 70’s in his Forever People title.  Being a HUGE Jack Kirby fan, the addition of any Fourth Worlder is a sure fire way of getting me hooked.  Keith Giffens is going for broke with both the lineup and the stakes of this “Hunted” series.  Right now it seems a bit cluttered as all the disparate factions are aligning themselves and new versions of old characters are introduced to us seemingly at every turn.  Hopefully, as alliances are cast and battle lines drawn the series can focus on forward moving, unified plot lines.  One of the side plots of great interest is the race for Jediah Caul’s power battery.  Hawkins tells Caul he knows where it is and a mysterious lawyer appears requesting K’Rot and his smaller Zoo Crew to procure it for his client.  In the “Larfleeze” back up feature, Larfleeze and his enslaved assistant continue the search for his stolen hoard.  The smugglers they have contracted to help them a treasure hunter called Branx Rancor.  In the middle of negotiations, Larfleeze’s rogue orange constructs attack the band.  This installment wasn’t the best of the three so far and very little progress is made in the overall plot.  As a whole, this issue of Threshold was good, but awaits the clarity that hopefully will come sooner rather than later.
  • Saucer Country #13 was an incredible issue that cut deeper to the truth than any other in the entire thirteen issue run so far.  Gov. Arcadia Alvarado is a heartbeat from the presidential election resulting in her favor.  In the background a hailstorm of the powers and plots that seek to thwart her are coming to a head.  The little naked couple from the Voyager space probe pull one last ditch effort to keep Prof. Kidd from killing himself by revealing a piece of evidence that will prove they are legit.  Michael and the governor’s press secretary meet with the mysterious Blue Birds spokewoman, Astelle, and drop their own bombshell on the seemingly omniscient woman’s world view.  The sitting president’s men attempt to turn her chief of staff, Harry, only to be curbed as well by trump cards in Arcadia’s hand.  This could mean the end of the series being in sight, or it could signal a game change that will raise the stakes.  Either way, writer Paul Cornell is blowing this series out of the park and really delivering a complex, thought provoking title that begs to be read month after month.  With the shocker ending in this issue, #14 cannot come soon enough in my opinion.

And so ends this phenomenal week.  This crop comprises itself of several must read titles.  I hope you all check them out and enjoy them as I have.

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

Illustration Credits:

Batman #18: Drawn by Andy Kubert, Colored by Brad Anderson, Inked by Sandra Hope

Batman & Robin #18: Drawn by Patrick Gleason, Colored by John Kalisz, Inked by Mick Gray

Before Watchman: Ozymandias #6: Art by Jae Lee, Colored by June Chung

The Ravagers #10: Drawn by Diogenes Neves, Colored by Tony Avina, Inked by Vicente Cifuentes

Week 52 (August 29, 2012)

I started this blog one year ago to coincide with the DC Reboot and as of this, the last week of August, it has been 52 weeks of the “New 52.”  That is one year exactly, and what a week to commemorate the first year of the relaunch.  Since it is also a fifth week, there are five (count them), FIVE! annuals that came out, and each one from a series that I have followed religiously and enjoyed throughout the twelvemonth past.   So without further ado, here they are:

  • Justice League #12 completes the first year of Justice League storytelling and wraps up the four part “Villain’s Journey” arc.  It may be my own prejudice against this the title, but my opinion is that this arc was adequate, but on the whole uninspired.  A lot of the public and the League’s analysis of things is positively ludicrous.  The thought that the League should have been able to prevent the deaths of the Graves family from after effects of Apokalips ash inhalation DOES NOT MAKE SENSE!!!  No one from Earth had ever heard of Apokalips, let alone its flora, fauna, and minerals, and somehow this team that wasn’t even a team at the time is supposed to know and prevent after-effects of something no one on Earth had any knowledge of?  That is the kind of twisted logic villains should employ in shortsighted revenge schemes–that actually makes for good storytelling– but not the heroes or the public.  This defies logic.  This issue also inaugurates the romance of Superman and Wonder Woman.  This concept I think is more of a fanboy fantasy than a substantial plot, in my opinion.  However, Geoff Johns seems set on proving me wrong, as he does a pretty decent job of delivering a compelling argument for the pairing.  We’ll see is all I will say.

    What Everyone’s Been Talking About


  • Aquaman #12 is a pretty straightforward issue.  Mera is brought into the loop by the Others, Arthur fights Black Manta, and the he gets really angry.  There isn’t a lot of exposition or ambiguity about it.  The concluding issue of this arc, “The Others,” is two months away and I CAN totally wait.  I think that sums up what the issue was like, better than an over extended explanation.
  • Green Lantern Annual #1 . . . changes . . . EVERYTHING!!!   That was the promise DC put up for month as this annual’s solicitation, and writer Geoff Johns keeps his word.  This Annual is SICK!  Distilled within is everything Green Lantern (Hal Jordan) is and has ever been.  It is everything the Green Lantern Corps ever was.  It is everything Geoff Johns has made it into over the course of  7+ years.   That is really what struck me while reading it.  About seven years ago Geoff Johns did something incredible and marked a major note in the canon of DC history with Green Lantern: Rebirth, bringing Hal back from the dead after almost a decade of being dead.  In this annual, he puts in another bookmark and does so with the help of the artist who aided him in Hal’s resurrection, Ethan Van Sciver.  Both’s skill of storytelling is at their respective heights with this one, telling perhaps the most apocalyptic tale in Green Lantern history.  I would argue even more so than the seminal Blackest Night, because in this story the power base of good is shaken to the core and what was once pure is now tainted, and what was once sinister might now be the Universe’s only hope.  One thing I will say: the Guardians are beyond the pale.   There is no going back now, lines have been crossed and they will have to hope their mad scheme succeeds, because if it does not there is no longer going to be a place for them.  The ending of this annual leaves a large question mark in the heroes column, but leaves a glimmer of hope.  After this story, I am ravenous for more Green Lantern Family books.

    A Devil’s Deal

  • Flash Annual #1 completes the “Rogues” arc, not only by continuing the plot of Golden Glider’s coup from issue #12, but also by giving background on the Rogues before the beginning of the series.  The Rogues were regular men who had implements that gave them their particular powers, i.e. flamethrowers, ice guns, mirror projectors, weather wands, etc.  How they came to have those powers inborn is finally revealed and linked to a shady persona we’ve come to know decently well over the past twelve issues.  Secondly, Turbine resurfaces outside the Speed Force in Central City and meeting with Patty Spivot reveals that Barry Allen is still alive.  Thirdly, the new story arc is revealed, bringing back a classic Flash villain.  Francis Manapul and Brian Buccellato write this multi-chaptered annual incredibly well, with the help of guest artists Marcus To, Scott Kolins, Diogenes Neves, Marcio Takara, and Wes Craig.

    This Could Change EVERYTHING

  • Superman Annual #1, like Flash Annual #1 above, accomplishes several important things.  Firstly, Scott Lobdell takes over the Man of Steel’s main title.  George Perez and Dan Jurgens have written the title since the reboot exactly one year ago.   In that time it has been passable.  Scott Lobdell has done incredible work on Superboy, Teen Titans, and Red Hood and the Outlaws.  While still writing the latter two, Superman is now on his ticket and considering the extremely fresh voice he had imbued to both the Titans and Outlaws, I have very high hopes for his run on Superman.  As for the annual itself, Lobdell brings together many strands from across the DCU into an intriguing nexus point.  Starting on the faraway world of Daem, thousands of years ago, we see the birth of the the evil Daemonite despot, Lord Helspont, as well as a explanation for the schism in Daemonite forces that has been alluded to in Voodoo, Grifter, Stormwatch, as well as issues #7 & 8 of Superman.  Bridging this into the present day, Supes fights Helspont to a standstill, getting his best efforts effortlessly fended by the fallen Daemonite prince, and is treated to an extended explanation of the sinisterly noble mission that Helspont has been waging for over three millennia.  Lobdell also ties Grifter into the annual, picking up the character’s journey from where Rob Liefeld left it at the end of this month’s Grifter #12.  Most intriguing, however, was the further reference to the “Thirteen.”  He spells out certain aspects of what the “Thirteen” are through the mouthpieces of Helspont’s most trusted lieutenants sent out to recruit aliens on Earth to the fulfillment of the prophesy of the “Thirteen Scions of Salvation.”  Apparently, it has something to do with Martian Manhunter, Starfire, Hawkman, and presumably Superman.  Mentioned in Red Hood and the Outlaws #12 this past month and once again in this annual, I am very curious as to which title this plot is going to unfold in or if it will be done in a crossover between them both.  A truly fantastic annual across the board.

    The Thirteen


  • Justice League International Annual #1 yet again blew my mind.  What it did, it did very well.  Geoff Johns and Dan Didio take the reigns from writer, Dan Jurgens, giving the JLI their last adventure as a team.  Didio brings the authentic OMAC feel to this annual, as OMAC is truly the pivotal character in this story.  Johns works to facilitate the transition of this book into an upcoming plot that looks to be a defining one of 2013.  This excites me greatly, because the story put forth here was EPIC!!!  If Justice League picks up its cues next year from this annual then perhaps that piece of $h!t title might actually gain some merit.  I am glad I read Justice League #12 first, because this issue took the events of that issue and turned them completely on their heads, adding an apocalyptic note to something that was otherwise touching and benign.  What is coming next year in Justice League? I never thought I’d say this, but I REALLY WANT TO KNOW . . .

    What Did Booster See?

  • Detective Comics Annual #1 concludes writer/artist, Tony Daniel’s, run on the title with an extended story dealing with the Black Mask character from where he left him in issue #9 with the “Night of the Owls” crossover.  I have to say that this annual did not live up to expectations.  It was a good annual in its story and pacing, but unfortunately for it, Daniel’s previous work on the character of Black Mask pre-reboot, was head, shoulders, and waist above this representation.  For those who read the collection of his previous work on the character, Batman: Life After Death, now in graphic novel form, there is no comparison.  While the former storyline was stark, terrifying, and realistic in its menace, this annual seemed more farfetched and cartoonish.  It lacked the gravitas of its predecessor.  Though Daniel tries to link the two storylines, it is very difficult to imagine there being any connection between two stories with such different tones and styles. What it does represent is a changing of the guard, with a new creative team coming on with September’s #0 issue.  I think that the first several issues of Daniel’s run on Detective were exceptionally good.  Dollmaker was perhaps one of the best Batman stories of recent years.  I will miss Daniel’s work on the character and hope that someday he comes back to it.
  • Before Watchmen: Minutemen #3 begins to cut into iconic plot points from the actual graphic novel.  First of all, and possibly the most pressing, is the fate of the Comedian after he is caught raping Silk Spectre.  On that same note, we also are treated to what Eddie Blake does after his expulsion from the Minutemen and how he segued into working for the government.   Writer/artist Darwyn Cooke focuses, however, on the Silhouette’s crusade against child pornographers and powerful cabals.  What Cooke does so very well is mimic the retro-style of golden age comics, and likewise presenting a very gilded exterior to the day to day life of the 1940’s society, while at the same time presenting the horrid, seedy underbelly that the veneer of class attempts to hide.  That was really what Watchmen was about in the 1980’s.  How society had been rotting for years and all the detritus had finally begun to show through.  Darwyn Cooke sort of has the whole Before Watchmen line in his hands, writing the story that is the fountainhead of everything that happens consequently.
  • Phantom Lady & Doll Man #1 is the first in a  four issues series that reintroduces the character of Phantom Lady to the New DCU.  A completely new person in the role, Jennifer Knight replaces both Sandra and Stormy Knight as the spectral super-heroine.  Instead of being the daughter of a US senator, she is rewritten here as the orphaned daughter of slain journalists trying to take down the crime family that has dominated Metropolis politics for over a century.  Jimmy Palmiotti and Justin Gray start the series off pretty well, but as I am not super familiar with the character, I’m unsure how I feel about it.
  • National Comics: Looker like Phantom Lady & Doll Man #1 reintroduces a niche character, Looker, into the revamped DC lineup. Emily Briggs is a supermodel turned vampire who runs a fashion empire from the literal shadows.  It was interesting, but not the best comic ever written.
  • Batman Beyond Unlimited #7 picks up several incredible stories by some of comics best writers and artists.  Writer/artists Dustin Nguyen and Derek Fridolfs continue their story, “Konstriction”, from the Justice League Beyond segment to the final showdown on Apokalips.  After decimating New Genesis, home of the New Gods, is there any way that the survivors, along with the forces of Apokalips, and the Justice League Beyond can stop the giant Ouroroboros?  In a one part Beyond Origin segment written by the aforementioned Nguyen and Fridolfs, the story and history of Aquagirl is revealed.  Apropos the Justice League Beyond story preceding it, the story reveals a connection between the Atlantean princess and Apokalips.  Following the “Justice League” animated series and expanding upon it, the two master storytellers weave a convincing, compelling yarn that details a very plucky young woman with an iron will.  Batman Beyond brought together SO MANY tantalizing elements!!!  Firstly, the liver failure that we are told in “Justice League Unlimited: The Animated Series,” that Bruce Wayne undergoes, prompting the discovery that Terry is Bruce’s biological son, happens right here!!!  We remeet Dana’s brother, Doug, as the king of Jokerz, and see his master plan revealed.  Thirdly, we also take the next step in Max’s journey into cyber terrorism, carried over from the first Batman Beyond series.  And finally in the Superman Beyond segment, Batman (Bruce in a cybernetic suit) saves Superman from Solomon Grundy’s goons after Earth becomes irradiated by a kryptonite meteor feel in geosynchronous orbit around Earth.  However, will even the Dark Knight’s best efforts be enough to keep the Man of Steel safe from the machinations of the Luthors?
  • Dominique Laveau: Voodoo Child #6 brings the title to its penultimate chapter, featuring a tale of the backstory of Black Benny, from the perspective of Baron Samedi, the Voodoo god of death whom Benny evaded even after his passing.  The backstory answers a few questions, and clues us into why Benny came forward to help Dominique in the first issue, but other than that was kind of ambiguous as to its overall relevance.  One thing it did accomplish, however, was the further portrayal of Baron Samedi, quite a colorful character, and his wife, Maman Brigitte.  Brigitte is an interesting goddess among the Voodoo pantheon, as she is a blonde haired white woman of Irish extraction.  The marriage between her and the Baron is an acrimonious one that revivals those depicted in Greek myths in both epicness and tawdriness.  An interesting issue for sure.  I am uncertain what to expect from the last issue, considering it is the last and so much still remains undone.
  • The New Deadwardians #6 appears to me to be the beginning of the end.  With six issues down in an eight issue miniseries, we’ve reached the three quarter mark and the plot has reached its height.  After venturing out into the countryside to the Hinchcliffe Estate, Inspector Suttle, the vampiric Scotland Yard chief of detectives, comes to a startling hypothesis as to the true identity of the deceased “young” lord and the motive behind his murder.  On his way back to London to authenticate his theory he runs across his prostitue informant, Sapphire, who he gains valuable information from, but more titillating  to the reader, he also takes to bed for the first time, ending fifty years of abstinence.  But, hanky-panky aside, by issues end the stakes (pun intentened) are at their height.
  • Spaceman #9 ends the series.  I promised I would revisit the series once it was over, because I did not understand a jot of what was going on.  Now that its over, I still have NO idea what was going on.  It was beautiful to be sure, but without a cogent plot to support it, there is very little to hold onto afterwards.  Look at the graphic novel and enjoy the pretty pictures, but don’t expect a story that makes sense.
  • American Vampire #30 brings us to the third installment in the six part “Blacklist” storyline, taking place in 1950’s McCarthy-ist California.  After a coven of vampires attempted to take the life of her husband, Henry Preston, Pearl takes the fight to them, alongside the other two American Vampires, Calvin Poole and Skinner Sweet.  So many insane things happened in this issue and obviously I can’t make reference to them, but this issue changes so much about two of the essential characters.  This arc has been promised to be a game changer, and after this issue I am not doubting it for one second.

Thus concludes not only this week of comics, not only this month, but this year of comics.  Its been a really great ride, and though I have been disappointed by several things regarding the loss of incredible storylines built up over decades of seminal writing, this first year begins something that could eventually be just as outstanding.  Hopefully I will be here again next September 1st, providing my thoughts and impressions on great graphic fiction, and I hope you all are too.

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

Illustration Credits:

Justice League #12: Drawn by Jim Lee, Colored by Alex Sinclair, Gabe Elaeb, Tony Avina, Sonia Oback & Pantazis, Inked by Scott Williams, Sandra Hope, Jonathan Glapion, Mark Irwin, Matt Banning, Rob Hunter, Joe Weems, Alex Garner & Trevor Scott

Green Lantern Annual #1: Art by Ethan Van Sciver, Colored by Hi-Fi

The Flash Annual #1: Art by Marcio Takara, Colored by Ian Herring

Superman Annual #1: Art by Pascal Alixe, Marco Rudy, Tom Raney, Elizabeth Torque & Mico Suayan, Colored by Blond

Justice League International  Annual #1: Art by Jason Fabok, Colored by Jeromy Cox