Batwoman #20is yet another game changing issue in a game changing series. Years ago Batwoman fought a madwoman in the guise of a Religion of Crime prophetess names Alice, who looked like a latex fetish version of the famous Wonderland heroine. Spoke a lot like her, too. After defeating her, and only moments before she fell to her “death”, Batwoman realized that Alice was in fact her long “dead” twin, Elizabeth. Well for the second time Beth has defied death to be found in the land of the living, this time in the custody of the D.E.O., comprising yet another manacle Director Bones has chained to Kate Kane’s leg to assure compliance with the agency’s whims. On the other side of the narrative are the family and friends of Kate. Up until last issue they had no idea that Kate was a D.E.O. puppet, being forced into doing their bidding. Thanks to Kate’s dad, Col. Jacob Kane, the Colonel, Kate’s cousin and one time sidekick Betty (aka Flamebird), Kate’s stepmother Katherine, and Kate’s fiancee Det. Maggie Sawyer all know what she is doing and more importantly WHY she’s been doing it. Within the close circle of confidantes is a great deal of dissent. Kate hasn’t spoken to her father since she learned about Beth’s still being alive. Katherine is livid that her husband has kept the secret of her stepdaughter and step-niece’s nocturnal activities a secret, amongst other things. Det. Maggie Sawyer is still a little on edge after finding out the woman she loves is in fact the criminal whom she is tasked by Gotham Central to bring in for vigilantism. All of these quibbles are quelled with the revelation of the horrible situation that Kate has fallen into, for all intents and purposes being enslaved by a shadowy government agency to do their dirty work, as well as the situation facing Beth Kane and her fragile psychological state. From the looks of it, this could be the turning point from the beginning of the series that will emancipate Kate and turn the book onto a completely new status quo. I am hoping that it does. Cowriters J.H. Williams III and W. Haden Blackman have kept this series constantly evolving and its readers always on their toes. For that reason this series has been a must read book and a delight to read month after month for twenty-two straight months (both zero issues included).
Batgirl #20is another issue that changes the entire flow of its series. With issue #19 of Batgirl the dominoed daredoll seemingly killed her brother, James Gordon Jr. With that she has lost the good grace of Gotham police commissioner and her own father, James Gordon Sr. But apart from that she has also exacted the heavy toll of having to finally take responsibility for putting her psychotic little brother down once and for all. If she didn’t, her mother was prepared to, and like a trooper she took the burden of killing him from her mother’s hands. In this issue she bursts in on her psychiatrist and makes her veiled confessions, keeping the details that would reveal her masked secret, but still attempting to gain some semblence of catharsis. The issue also reintroduces a classic Batman villain, the Ventriloquist, who comes on the scene. This time around the dummy is named Ferdie, not the gangster doll, Scarface, and the ventriloquist is a timid young woman named Shauna that has lacked the ability for self-expression. In the past it’s always been hinted at, but never concretely proved that the ventriloquist dummy somehow was calling the shots, yet still maintaining the reality of deep psychosis in the human involved. However, this version is dangerously close to shattering that by having the doll seem to move by itself with no strings attached in several panels. I can’t say that I am a fan of that kind of fourth wall tipping. However, other aspects of the emerging Batgirl mythos merging together in this issue, such as the crippled former gang member that Barbara has been flirting with and the sinister socialite/vigilante Knightfall lends a sense of long term world building under the capable hands of writer Gail Simone. Definitely an excellent issue.
Fourth Wall Broken
Nightwing #20has our title character nestling into his new life in Chicago. It’s not idyllic to say the least. He is awoken from a sound sleep after a looooong night of crime fighting by the woman who’s apartment he’d been subletting (unbeknownst to her) kicking him in the chest and brandishing a baseball bat over his head. Not the best way to wake up in the morning. Then comes the discovery that Tony Zucco, the mobster who murdered Nightwing’s parents, is under the protection of the mayor’s office. The Alderman who the Prankster forced to burn his amassed wealth to fend off ravenous wolves is found early the following morning alive, albeit with his arm ripped off and being eaten by said wolves. A confrontation with the masked anti-hero or villain (hard to nail down) is inevitable and culminates in a very intriguing cliffhanger ending. Kyle Higgins has been writing this series exquisitely since issue one and the fun doesn’t look to be close to stopping anytime soon. Brett Booth’s artistic contributions to this series have been considerable, lending a deal of smooth, effortless lines that jibe exceptionally well with Dick Grayson’s persona as an acrobat/aerialist. I look forward to seeing further adventures of the former Robin in the Windy City.
It’s Always Funny Until Someone Loses an Arm . . .
Red Hood and the Outlaws #20picks up after last issue where Jason Todd, after a month of horrors (told over several months of issues) goes to the Acres of All, home of the All-Caste, and has his memories voluntarily erased. Last issue, his friends and comrades Roy Harper (Red Arrow) and Princess Koriand’r (Starfire) tracked him down to help him in his moment of need only to find him erased of all his memories and as well as the darkness they engendered inside him. Angered by this Roy and Starfire accost the gatekeeper of the Acres of All (also the only remaining member of the All-Caste left alive) for his part in it. The resultant conversation takes the two “Outlaws” through a tour of the accumulated memories extracted from Jason’s mind to give a sample of just what pain and torment the gatekeeper had expunged from Jason’s mind. What also comes about is an exploration of who Roy and Starfire are as well. In the past Roy was in a bad spot with Green Arrow and life in general and out of the blue, the newly minted Robin (Jason) showed up and with great optimism and kindness helped Roy through a really tough moment. From that point on, Roy had an anchor that has connected him with Jason compelling him to help out the anti-heroic former Robin. Starfire’s past is also laid out, albeit far less complementary. Upon the conclusion of this issue, one thing is certain, things have changed and for good or ill, Jason is moving forward without the keystone events that have thus far shaped him into what we have come to know as the figure called the Red Hood. In the last couple of pages, new writer James Tynion sets up the intro for what will be the Red Hood and the Outlaws first ever annual, coming out in two weeks.
A Red Arrow and a Red Hood
Legion of Super-Heroes #20marches forward towards its blowout conclusion. Glorith, Ultraboy, and Chameleon Boy escape Rimbor for Sorcerers World only to find that planet also under siege by another member of the Fatal Five, Validus. The three legionnaires link up with their former comrade and ruler of Sorcerers World, Black Witch, and her legionnaire lover, Blok to combat this evil. Glorith and Black Witch are able to deal with the ravaging monster, but the cost is quite dear. It also lands Ultraboy and Chameleon Boy in a heap of trouble. Elsewhere on the Promethean giant we see further trevails of Legion leader, Phantom Girl, and her surviving colleagues, Invisible Kid and Polar Boy. Though the true meaning of these events aren’t fully explained, they could mean another tragic end to a valiant hero. Paul Levitz’s Legion is a testament to the title and its characters and a shining example of the possibilities of such a massive concept populated by round, dynamic characters. Levitz’s is the best Legion of any run, and I will stand by that assertion. However, DC is cancelling the series after August’s issue #23, so we are indeed looking at an endgame in the storytelling. A total shame.
Supergirl #20closed last issue on a very alarming conundrum. Power-Girl, the Kara Zor-El of Earth-2 exiled to our reality, teams up with Supergirl, the Kara Zor-El native to our universe, and the two convalesce in the latter’s submarine sanctuary called . . . Sanctuary. However, Sanctuary is comprised of Kryptonian A.I. and one of the key cultural heresies following the clone wars on Krypton is the existence of clones. Well, both Kara’s are genetically identical meaning that Sanctuary intuits one of them to be be a clone. Ironically, the one deemed to be a clone is in fact the true Kara to our reality, Supergirl. Not to say that Power Girl isn’t as perturbed as her other self nor that she doesn’t do her utmost to rectify the situation. This issue is basically a giant brawl between the two Maidens of Steel and the Kryptonian base they are trapped within. The issue seems simple in this way, but in fact this conflict is quite complex, fitting within a larger drama. Supergirl left Krypton as a teenager, unlike her cousin, Clark, who left as a baby, and as such laments a world and culture that were her life. When she came to Earth she had to cope with the loss of everything and everyone she knew and loved. When H’el came on the scene she was tempted with the promise of having that life restored, only for it to come crashing down again in front of her. Sanctuary was the last shred of Krypton that she had. In this issue that one last piece of home turned on her and ruthlessly tried to kill her. She is slowly losing her identity piecemeal, and a situation is developing wherein she will be forced to make a life among the humans and become a completely new woman. I really feel pity for her, but am enthusiastic at the chance for her to become the incredible character she was pre-Reboot and develop the relationships she had in the past with other superheroes. Michael Allan Nelson as well as his predecessors Mike Johnson and Frank Hannah have done a killer job writing her in complex, engaging ways that give her leeway to be a dumb teenager doing foolish things without demonizing her or making her any less compelling of a heroine. Her hero’s journey has been and looks to continue to be something worth watching.
Vibe #4begins with the armored intruder in the Ramon household introducing himself as Breacher, the first interdimensional traveller to come to Earth and be imprisoned by A.R.G.U.S. He came to warn Earth of Darkseid’s impending invasion, but was ignored and incarcerated. He also warned Cisco not to trust his employers as they are hiding something from him. Breacher is unable to elaborate as he is pulled against his will to another dimesion, probably his place of origin. In the mean time, Vibe is sent to catch the escaped inmate, codenamed Gypsy. Like Kid Flash last issue he fights her but eventually comes to speak with her in private and learns she is not an interdimensional warmonger, as he had been briefed, but just an interdimensional wander who was imprisoned like Breacher. Finally bucking the system, Cisco shakes his A.R.G.U.S handlers and agrees to help Gypsy get home. In the process he runs afowl of A.R.G.U.S head Amanda Waller and opens a can of worms that could spell dire consequences of him and his future as a superhero. Sterling Gates takes over for Geoff Johns and Andrew Kreisberg with great skill, maintaining the feel and excellence which began the series.
Wonder Woman #20brings the family of Zeus closer to all-out conflict. Artemis is dispatched to England to kill Zeus’ last born child, Zeke, and Wonder Woman yet again comes to the aid of her baby brother. In the meantime, Lennox returns and escorts Hera and Zola in the attempt to get Zeke to safety. However, Artemis and Apollo are not the only ones of Zeus’ children looking for the Last Born. The First Born also knows that Zeke is the key to the throne of Olympus and looks to commune with his baby brother in the attempt to claim what he feels is his birthright. Brian Azzarello certainly has a vision for this title and pushes onward setting a very sordid, complex gameboard upon which the Greek gods politick against one another. Ares, or War as Azzarello likes to refer to him, comes off as a blood-soaked philosopher, and perhaps a way of Azzarello inserting himself into the title. He does bear an uncanny resemblance to the Wonder Woman scribe. Also revealed is the reason for Cassandra, the First Born’s attache’s, metal throat. There is some messed up family politics behind that number. I’ve fought with my sisters before, but I have never ripped their larynges out. Yikes. Azzarello with the help of artists Cliff Chiang, Tony Akins, and Goran Sudzuka have knocked this title out of the park. I think what I like about the series thus far it that it is a completely different take on the saga of the Amazing Amazon than most fans have seen on a large scale. It really roots her in mythic origins and divorces her from the contemporary DCU events, if only for the moment, to really give voice to the Greek drama that is her life. Intriguing to be sure.
Sword of Sorcery #8is finally here. Though I hate to see this wonderful series come to a close, I am geared up for the incredible finale that has been so wonderfully built toward. Eclipso has subdued both House Onyx and House Diamond, the two bloodlines that once gave him power. They again fall under his sway. It falls to the newly minted lord and ladies of House Amethyst, House Citrine and House Turquoise to stop him. Amaya has a plan and it is a risky gambit that turns the very premise the first issue was based upon on its head. Amaya’s ancestor, Lady Chandra, was the one who defeated the undefeatable Lord Kaala (Eclipso) when he first appeared in Nilaa. The question arises as to whether Amaya, young though she may be, can emulate her forebearer and put him down once more. The course of this title has been circuitous and fraught with medieval political intrigue not unlike Game of Thrones. It’s strange that this fact didn’t save it from cancellation, but the hope remains that somewhere down the road someone will resurrect it from the pivotal moment upon which it ends. Writer Christy Marx can be proud of herself with this title and artist Aaron Lopresti presents his usual level of excellence in its depiction. All nine issues of this series (zero issue included) are well worth reading.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Batgirl #20: Drawn by Daniel Sampere & Carlos Rodriguez, Colored by Blond, Inked by Jonathan Glapion & Vincente Cifuentes
Nightwing #19: Drawn by Brett Booth, Colored by Andrew Dalhouse, Inked by Norm Rapmund
Red Hood and the Outlaws #19: Art by Julius Gopez, Colored by Nei Ruffino
Supergirl #19: Art by Mahmud Asrar, Colored by Dave McCaig
Wonder Woman #19: Art by Cliff Chiang & Goran Sudzuka, Colored by Matthew Wilson
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 #19introduces 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
Green Lantern: The New Guardians #19picks 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
Batwoman #19is 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 #19delivers 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!!!
Legion of Super-Heroes #19brings 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 #19represents 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
Nightwing #19endures 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?
Supergirl #19finds 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
Vibe #3takes 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 #19marks 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 #7proves 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
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.
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
This was a huge week, both in the number of comics I picked up and the quality. First and foremost, Grant Morrison concludes his run on Action Comics with an oversized issue that promises to be one of the hallmarks of his comics career. Batwoman enters into a new era after a seventeen issue mega story came to an EPIC end last month. Legion of Super-Heroes has descended into unmitigated horror as of its preceding issue and moves into what promises to be the biggest story in LOSH history since writer Paul Levitz’s “Great Darkness Saga” plot from the early 80’s. And who could forget three Bat-titles that follow in the wake of Damian Wayne’s tragic passing. I am shaking just recounting the possibilities this week holds in store. Let’s jump in:
Action Comics #18concludes Grant Morrison’s MASSIVE opening arc of this flagship Superman title. As with most things Morrison, I’m not entirely sure I got all of it. It is steeped in 5th dimensional nonlinear geometry and what could vaguely be filed under the heading of quantum mechanics. Superman is fighting Vyndktvx, and by extension Superdoom and the Anti-Superman Army. It’s pretty technical, but insanely engaging to read. Superman’s position seems impossible to extricate himself from, except when he realizes an inherent flaw in the logistics of Vyndktvx’s attack. As he discerned on Mars when fending off the Multitude, the unfathomable numbers of this angelic hoard were merely a fifth dimensional projection of one being, Vyndktvx. Likewise, by choosing to attack Superman at various points throughout his life, Vyndktvx is able to optimize the torture quotient of his assault upon the Man of Steel, but conversely traps himself in a relativistic conundrum hinging on Superman’s perception of the situation. When Superman realizes that he’s been attacked at other points in his life he also realizes that due to the quantum physics of the 3-dimensional plane in which we exist he would have survived all the previous assaults by Vyndktvx and therefore would have gained de facto the knowledge of how to defeat the mad 5-D villain. Grant Morrison and his dynamic duo of artists, Brad Walker and Rags Morales, really did a great job of tying together their entire run on the book and making it meaningful. Lex Luthor made an appearance defending the Man of Steel and another antagonist from earlier in this series, Adam Blake, and his Neo-Sapien brotherhood come back to Earth and lend Superman a hand as well. The people of Earth are promised immortality and eternal happiness if they shun Superman in his moment of greatest need, but humanity rallies behind their savior and grant him the key to victory. The backup feature by Sholly Fisch was a little insubstantial, but in fairness his amazing backup feature in #17 was no doubt supposed to be the ending of the arc until Morrison got DC to extend his run by one issue to fully tell the grand finale as he envisioned it. This one features kids in a Superman Museum in the 31st century featuring almost no dialogue and just seems propped up with toothpicks. There was meaning behind it, but it still had the air of being rushed. Despite that, this issue as well as the other eighteen issues of the series (remember there was a #0 issue in there, too) were amazing and a tribute to Grant Morrison’s genius. A must read, whether in single issues or graphic novel format.
Vyndktvx’s 5-D Dilemma
Justice League #18was a nerd spasm with the League auditioning new members and writer Geoff Johns pulling out all sorts of fan favorites along with some really obscure characters. Zatanna, Firestorm, and Black Canary come up , but Johns also brings in Platinum of the Metal Men, Element Woman (female version of Metamorpho) which he’d messed around with in Flashpoint, Goldrush, and a female version of the Atom. Other than exploring the need of a new member to the team and introducing the hint of a coming conflict, there wasn’t much point to this issue. The Shazam backup feature had good art from Gary Frank, but vexing plot development: Billy Batson running away from responsibility, because he’s a punk. If he were any other version of the character than this it could be legitimately reasoned as a kid afraid to fail, but it’s not. It’s Geoff Johns’ bizarre attempt at rebooting an edgier Billy and his running away from conflict just comes off as him being a self interested brat. This series just does not work for me, main feature and backup.
Justice League of America #2brings about Geoff Johns’ second attempt at a team book. The first issue was a really solid opening chapter that showed promise, albeit suffering slightly with its breakneck, abbreviated introductions to six lead characters. This second issue continues that promise with a pretty substantial plot. Its shorter in length, giving some of its page count to the Martian Manhunter backup feature. There is some quality character development on Catwoman, as well as Steve Trevor. The main villain seeking to create the “Secret Society of Super-Villains” from the end of Justice League #6 a little more than a year ago finally shows his face and seems to be a completely new character, or perhaps a drastically different take on an old one, because I do not recognize him at all. All in all, a really enjoyable, edgy series. I think that Geoff Johns is trying to be edgy with the two Justice League titles and that is where he fails with the main series. When you have tertiary characters like Catwoman, Katana, Hawkman, etc, you can be edgier. When you try that same thing with the main DCU characters, even to a degree with Batman, you just alienate them from the audience reading them. Maybe that’s what Johns is going for, but that’s a really low bar to aim for and a really crappy status quo for readers to expect. The Martian Manhunter backup was too edgy for me and I did not like it. If J’onn J’onnz was to die at this point I wouldn’t care at all. That is sad, because I always liked him.
Batwoman #18is a new beginning for the character, but also a reaffirmation of what her life has become. Medusa and her kidnapping of dozens of Gotham children was the plot that pervaded the first seventeen issues of the title, but with last issue that has been laid to rest. However, in fighting this titanic battle for the innocents of her city, Batwoman had to make a devils deal with the D.E.O. and become their leashed super-agent in order to complete her mission with impunity and keep her father out of prison for his outfitting of her with Army equipment. This latter aspect of her life was overshadowed by the pressing quest to find and subdue Medusa before the children came to harm. With the mission accomplished she is becoming aware of the shackles she’s got herself tethered with. As she plays her role in this issue taking down Mr. Freeze to obtain some of his freeze tech for the D.E.O. she runs afoul of Batman and confuses her father, cousin Betty (her sidekick Hawkfire), and the Batman as to what her motives are. After defeating Medusa, Batwoman proposed to her alter-ego Kate Kane’s girlfriend, Capt. Maggie Sawyer. This issue picks up with Maggie looking for a new place for the two of them, completely overstepping any reaction from the Gotham policewoman as to the revelation that her lover was the vigilante she had been hunting. Probably the right decision by J.H. Williams III and W. Haden Blackman, but I still would have been interested to see what the initial conversation was before her acceptance of this rather unorthodox situation. This series continues to be amazing, although this particular episode was a little less exciting after the high octane ride the past couple of months have given us with the conclusion of the “Medusa” mega-arc. Also Trevor McCarthy’s art pales in comparison to Williams’. I feel they do him a disservice, as he is a good artist, by pairing his artwork next to Williams’.
Green Lantern: The New Guardians #18brings Volthoom’s wrath upon Carol Ferris, Saint Walker, and Larfleeze. To accomplish this, series artist Aaron Kuder has been replaced with three artists for the three different sequences in the narrative. The Carol Ferris segment is drawn by Hendry Prasetyo and features Carol living a life without love. She’s completely ignored her obligations to her father and their family company Ferris Aircraft, following her dream to become a fighter pilot. Though this sounds ideal for her, with Volthoom’s altered timeline it is anything but. Larfleeze’s segment is drawn by Jim Calafiore and features the paragon of greed first with his family that he has desperately wanted to find for ages and then as a Blue Lantern. Both times, he barely gets into the altered reality before his inherent greed overpowers his senses and collapses the concept in on itself. Saint Walker doesn’t so much live a life without hope, so much as lives a life without loss, this time around having gotten a green power ring saving his planet before his family died in the quest for the blue one. He also is unable to follow the reality through as in his heart he knows it is not true. Like Kyle last issue, each of the other “New Guardians” prove too powerful in their spirit for Volthoom to truly get the better of forcing Volthoom to seek out someone he knows he can manipulate: Atrocitus. That may be a lead in to next week’s Red Lanterns issue, because Atrocitus hasn’t been a New Guardian for awhile. This issue was really well written and really cut to the heart of these three incredible lanterns.
Supergirl #18presents a major turning point for the Maiden of Steel. She has been alienated upon waking up on a planet whose language and culture she is unfamiliar with. Things looked up for awhile as she made a friend in Siobhan McDougal, aka Silver Banshee, but then with the introduction of H’el onto the scene she was given the hope of returning to her homeworld and being reunited with her family. With last month’s issue of Supergirl as well as the conclusion of Superman #18 it is now an intractable fact: Supergirl can never go home again. That is sadly pointed out in a moment where she emerges from a solar satellite where she is convalescing from green kryptonite poisoning. After exiting the solar chamber she begins to say “I want to go home,” but stops and corrects herself, “I just want to get back to Earth.” Her expression in this moment is truly heartrending. In the meantime, Lex Luthor plots against her from his state-of-the-art, super-prison, via neural implant that projects his consciousness to an offsite computer. Also a strange connection between Kara Zor-El and Karen Starr, the Kara Zor-El of Earth 2, is teased at. This issue featured a guest writer, Frank Hannah, and he picks up and continues the series in intriguing new directions. Coming off of a massive event like “H’el on Earth” can be dangerous, providing a jumping off point for readers of certain series if they don’t sink a hook right away. This issue sunk a hook. What’s to come has great promise.
You Can Never Go Home Again
Legion of Super-Heroes #18 continues down the cataclysmic road that issue #17 began. The United Planets are still reeling from the assault of Tharok against the technological advances of the 31st century and the death toll mounts. The last issue focused on Legionnaires stranded on Rimbor and the Promethean Giants. This one goes back to both locations and the plight upon them, but also adds Earth and the Legion’s headquarters in Metropolis to the stage. Mon-El, Shadow Lass, Lightning Lass, Shrinking Violet, and Cosmic Boy leave Earth for Webber World, an artificial planet that is nothing but technology to try and establish the devastation there. Brainiac 5, Dream Girl, Star Man, Chemical Kid, and Element Lad attempt to get a cruiser prepped for their own departure from Earth. Ultraboy, Glorith, and Chameleon Boy attempt to escape Rimbor using Glorith’s magic, and Phantom Girl, Invisible Kid, and Polar Boy continue to try and regroup after their crash landing on the fabled Promethean giant. This arc has all the hallmarks of another cosmic epic on the scale of writers Paul Levitz and Keith Giffen’s 1980’s opus, “The Great Darkness Saga.” This issue lost a little steam, but issue #17 had two advantages. Firstly, it had the element of surprise, following a very calm “nothing is happening” issue directly into a sucker punch in the readers’ collective gut with literally all Hell breaking loose. Secondly, it had Keith Giffen’s Kirby-esque artwork magnifying the already nuts plotline into a tour-de-force thrill ride. Scott Kolins and Tom Derenick do a good job, but like McCarthy above in the Batwoman review, they have the misfortune of standing in the very long shadow of Giffen. I am pumped to read further into this amazing arc which promises to be a historic one.
DC Universe Presents #18 is a one shot like last month’s issue that gives spotlight to Jason Todd’s fellow outlaws. Issue #17 was a focus on Roy Harper that really laid bare the kind of person he is as well as his hidden strengths and virtues. This month we are shown Princess Koriand’r, aka Starfire. Born into royalty, her sister sacrificed her to slave traders to buy peace for the realm. This issue tells about her time as a slave on a ship that is larger than the Earth. Inside are entire civilizations that the slavers raid and sell when needs be. This issue wasn’t large in the action department, but did present an interesting study into the mindset of the enslaved. How sometimes those that aren’t free are so weighed down by their bondage that they do not want to be free because of the terror it inspires in their comfortable minds. This issue was once again written by Joe Keatinge, who wrote the Arsenal issue last month. The art is done by newcomer Federico Dallocchio. The writing is thought provoking, if not action packed, and the artwork is very lovely, representing the beautiful heroine well. Not a bad issue at all.
Nightwing #18hits Dick Grayson while he’s down. Last issue had Nightwing mourning the loss of his friends and the circus he grew up in and was trying to save. It had Dick struggling with his own sense of denial, telling those that still cared about him that he was fine when he was really anything but, festering pain and anger deep in his belly until the pressure burst. All the while Damian, the most socially inept, insensitive member of the Bat Family, followed him to intervene when the inevitable sword dropped. Damian stopped him from stepping over the line and told him exactly what he needed to hear to ease his battered and bruised soul. This issue opens with Damian dead and the old wounds he’d seemingly healed torn open and wrenched deeper by the loss of this “little brother” who knew him possibly better than even Batman. What it comes down to is that he is losing his past. The circus he grew up in was terrorized and some of the older members like the clown, James Clark, and his former girlfriend, Raya, brutally murdered by the Joker, the circus folds, and then Damian, who had served as his Robin when he donned the cape and cowl of Batman, dies suddenly saving Gotham. Then Batman comes to him with information that a criminal scavenger that sells crime artifacts in underground auctions has plundered Haly’s and put John Grayson’s trapeze outfit up for sale. The Collector last showed up in Scott Snyder’s Detective Comics run, pre-Reboot, running afoul of Dick Grayson’s Batman. Now its a rematch in his Nightwing identity. Though he goes in angry, the outcome of the confrontation ironically heals him and proves the truth in something Damian told Dick before he died. But of course Dick can’t be happy for long. When deciding to finally meet with Sonia Branch (nee Zucco), daughter of gangster that killed his parents, she reveals something about her dad that once again shows how Dick’s past is continually eroding beneath him, leaving him very little closure. Kyle Higgins is KILLING IT! His Nightwing run is seminal. I may have liked other runs as much as this one, but I’m not sure. All I know is that this is a really emotionally driven, introspective, thought provoking title that continually amazes. Juan Jose Ryp yet again provides equally stunning interior art, really drawing out the latent potential in every heartbreaking frame. This two issue interim arc between “Death of the Family” and the next major story arc of the title has been phenomenal on every imaginable level.
Red Hood and the Outlaws #18following the shocking ending of last issue vis-a-vis the booby trapped helmet that the Joker whipped together, Jason lays in a medically induced coma, facing his greatest enemies. With the revelation a few months prior that the Joker for all intents and purposes created him by selecting him and guiding him towards the Batman, the Clown Prince of Crime is the first of Jason’s adversaries. However, the real adversary he fights is himself. A mob of Bat family members, past and present, as well as his former allies converge on him at once and Batman is the one who pulls him out. This is writer Scott Lobdell’s last issue on the series and he might be taking his character from his complete alienation of his past as Robin and bringing him back into the fold, or perhaps he’s just tempering the fiery character of the failed Robin, but in either event, he presents a single heartwarming tale for the jaded anti-hero. Despite all he has done and the pain he has put them through, Bruce and Alfred love him and do everything in their power to help him come back to life, literally and metaphorically. Tyler Kirkham does fantastic guest art on the title, really bringing out the twisted nature of Jason’s psyche. Well worth picking up.
Vibe #2was a half and half issue. Half of the issue played catch up and was boring for those who have read Justice League of America #1 & 2. Recounting all of the snippets of Cisco Ramon’s appearances in the first two issues of the overarching JLA title, it does inform those who didn’t read the aforementioned title and gave context to those that did, but still, didn’t hit just right. The other half of it hit a cord with DC fans that know their obscure characters. A transdimensional invader comes through to deliver a note to an emissary. It hands it to Vibe right before an A.R.G.U.S. agent zaps him. The note was meant for the character, Gypsy, whose father apparently is a potentate in another reality. A far departure from her previous back story, she is exactly like Vibe. Few know who she is so few care if they do a MASSIVE overhaul. What is clear is that A.R.G.U.S. likes to kidnap the daughters of powerful men. Darkseid’s daughter is their prisoner. This unknown king’s daughter is also their prisoner. They better pray that Gypsy’s homeworld doesn’t form an alliance with Apokalips, because they are literally playing with fire and poking some VERY big dogs with an annoyingly sharp stick. I want to believe Geoff Johns knows what he’s doing, but he is quitting the only good book he is currently writing. So I put my faith in cowriter, Andrew Kreisberg.
Wonder Woman #18 concluded a maxi-arc in the odyssey of Zola’s baby. In Wonder Woman #1 writer Brian Azzarello and artist Cliff Chiang introduced us to Zola, a human woman who bore Zeus’s newest bastard. The Amazing Amazon has gone on a long journey to protect the young woman from the various gods of Olympus and upon its birth, to recover the baby from those same, meddlesome gods. That story finds its conclusion a year and a half later. However, it continues the tale of Zeus’s first born child, exiled and awoken millennia later with rage and vengeance on his mind. Those same gods who tried to strong arm and kidnap an innocent child, now have to contend with a vengeful demigod fueled by distilled hatred. Also Azzarello has re-introduced us to the New Gods of New Genesis, represented primarily by Orion, foster son of High Father and (perhaps still unbeknownst to him) the eldest son of Darkseid. Azzarello keeps this series afloat, sometimes peaking on the wave of awesome, and other times lulling in the trough of mediocre. This concluding issue of that first major crisis features art by alternating artist Tony Akins and Cliff Chiang, as well as a third penciller, Goran Sudzuka. This one was pretty good and a must read if you have been one of the faithful, reading it from the inaugural issue.
Sword of Sorcery #6accomplished quite a bit. It fully introduced us to the new lord of House Turquoise after the death of Princess Amaya of House Amethyst’s grandfather, Lord Firojha. It also introduces another newly minted House head following another shift in power. Most importantly to the DCU in general is yet another reason why I want to see John Constantine strung up by his toes. He singlehandedly brings the harbinger of utter ruin upon Princess Amaya’s home, but what’s worse, he uses her to invite it in. In fairness to Constantine, however, the doom that he has sent to Nilaa was born in the Gemworld and exiled to Earth thousands of years ago. Still, its a pretty low thing to do, considering how Amaya pulled his bacon out of the fire in the Justice League Dark Annual. The Stalker backup feature isn’t even worth talking about. Just horrible. Get this issue for the main feature and then close it up after the conclusion.
Batman Beyond Unlimited #14begins with an interim chapter in Batman Beyond following the conclusion of the hellacious “10,000 Clowns” arc and the coming one called “Undercloud.” Though its a one shot, it is monumental if one followed the animated “Batman Beyond” series. In the series Terry McGinnis constantly had to bail on his long suffering girlfriend, Dana Tan, and play it off like he was doing errands for his boss, the aged Bruce Wayne. After the events of “10,000 Clowns” and her brother Doug unleashing hell on earth upon Gotham in the form of 10,000 suicidal Jokerz from around the world Dana is put in a situation where everything clicks. When Doug attempted to kill their father in the ICU, Bruce Wayne, 80+ years old and dying himself from liver failure, got out of his hospital bed and fought the twenty something maniac, allowing the Tans to get Mr. Tan to safety. When Doug took his sister as a hostage, Batman referred to her by name. The math is right there and Dana FINALLY figures it out and a new era in Terry’s tenure as Batman begins. The issue is also good, because Dana was often a set piece on the show and more of a plot device than an actual character. This issue was her issue. It was narrated by her, gave her history with an intimate look into her traumatic upbringing with a psychotic for an older brother who despite his evil nature she still loves, and tells us what gives her peace. Adam Beechen makes this series come alive for those of us who mourned the TV series’ cancellation. Although, I do have one beef. In the “Justice League Unlimited” episode entitled “Epilogue” we are told that Terry discovered that Bruce Wayne was his biological father when they did the liver transplant and found out him and Bruce were identical tissue types. In this issue the liver came from someone else. You messed up, Mr. Beechen, but I’ll forgive you because the rest of this issue and those preceding it were truly mind blowing. Also, kudos to Peter Nguyen who takes over for regular Batman Beyond artist Norm Breyfogle. The art is truly beautiful, underscoring the moving narratives within. Unfortunately, the Superman Beyond plot is leaving me whelmed. I thought there was going to be some moral ambiguity with the Trillians claiming Superman destroyed their world, but really they are just an overclass that resents having their property taken away. Superman freed their slaves and now they are angry. Boo-effing-Hoo. On to the next. The Justice League Beyond Unlimited story finishes off in this third installment with a new Flash, this time a young African American woman named Danica (last name to come soon, I am sure). This arc was over relatively quickly when compared with the previous Kobra arc that spanned almost an entire year’s worth of issues. However, despite the brevity and the quick take down of what could have been a truly formidable foe on the level of most of the greats this issue had its poignant moments that really speak to the superhero genre, why they do what they do, and gives a comprehensive intro to the next scion of the Speed Force. Perhaps the best moment came after Superman personally extended an invitation to Dani to join the JLB. After accepting his gracious offer, she challenged him to a foot race, which every speedster since Barry Allen have done. Derek Fridolfs write this one as well as providing inks for Jorge Corona’s pencils. Truly a great end to a relatively short arc. This issue was phenomenal overall.
This crop was amazing, though statistically they had more shots at it with the increased number of entries. Several of these are must gets to comic fans in general, regardless of genre.
Disclaimer: I do not own the rights to any of these images and give credit to those whose work they are.
Action Comics #18: Drawn by Rags Morales & Brad Walker, Colored by Brad Anderson, Inked byCam Smith & Andrew Hennessy
Justice League #2: Art by David Finch, Colored by Sonia Oback
Supergirl #18: Drawn by Robson Rocha, Colored by dave McCaig, Inked by Oclair Albert, Julio Ferreira & Mariah Benes
Nightwing #18: Drawn by Juan Jose Ryp, Colored by Bret Smith, Inked by Roger Bonet & Juan Albarran
Red Hood and the Outlaws #18: Art by Tyler Kirkham, Colored by Arif Prianto
Batman Beyond Unlimted #14: Drawn by Peter Nguyen, Colored by Andrew Elder, Inked by Craig Yeung