Feb. 5, 2014

This week begins the February batch of comics and with it some of the best titles, in my humble opinion.  Green Arrow is a series that has me ravenous month to month, ready to devour the next issue at the conclusion of each brand new one.  Detective Comics is nearing the end of writer John Layman’s run. Trillium remains one of the best titles Vertigo has in their lineup.  Also out this week: Green Lantern and Red Lanterns share a physical issue this month, Batman: Black & White ends its six issue run, and last but not least Ms. Marvel #1 comes out, written by the incomparable G. Willow Wilson and introducing a promising young lady into the realm of superheroics.  It’s looking like it’s going to be an awesome week!

  • Detective Comics #28 unfolds the second chapter of the three part “Gothtopia” storyline.  Batman has realized the horrific truth behind the shiny city which Gotham has been masqueraded.  Somehow Scarecrow has engineered an airborne toxin that has the populous in a state of euphoria.  With everyone so perfectly enthralled under his chemically enhanced euphoria Batman’s rational thoughts seem like insanity, prompting his allies to capture him and put him in the only place that can treat someone in his condition: Arkham Asylum.  Working with Scarecrow are a ragtag group of Batman villains correlated only by their medical degrees: Harley Quinn (former psychiatrist Dr. Harleen Quintzel), Professor Pyg (surgeon Dr. Lazlo Valentine), Mr. Freeze (medical scientist Dr. Victor Fries), and Merrymaker (fallen psychiatrist Dr. Byron Meredith).  These rogues have Batman and delight at the various draconian means with which they can “attempt to cure him.”  Luckily for Batman, Arkham Asylum’s security is something he’s made a hobby of and even more lucky, the one person who has the inherent traits to counter the toxin is also currently an inmate: Poison Ivy.  Batman’s got these two points on his side, but Scarecrow has more than just the psycho version of the television show The Doctors on his side.  John Layman is ending his run on this title with style in what is shaping up to be a very intriguing bookend arc.  Unfortunately his longtime collaborator in art, Jason Fabok, has left the title to begin his work on the upcoming weekly series Batman Eternal.  It would have been great if they could have hit the finish line together, but c’est la vie.  Next month’s issue will mark the end of a really quality run of Detective Comics and herald one of the most exciting runs to date with the advent of writer/artist duo Francis Manapul and Brian Buccellato, whose run on Flash cemented it as one of the top titles.  It’s an exciting time in Detective Comics and Layman is setting up a killer final issue of his run.
    The Doctors.

    The Doctors.

  • Green Arrow #28 presents another killer issue in Jeff Lemire’s “Outsiders War” arc.  Picking up with last issue’s unbelievable revelation that Robert Queen is still alive, Ollie wrestles with the implications.  Not only is his father alive, but it was his dear old dad that stranded him on the island in the first place and who, as the oni-masked mercenary, had him mercilessly tortured and personally hunted Ollie upon his escape.  Robert spins a yarn of his intentions and only having Oliver’s best interest in mind, but from all angles, not just the inhuman treatment he endured, Ollie has so many reasons to be angry at his father and Shado, which he makes no effort to hide.  Elsewhere, Fyffe and Naomi meet John Diggle in
    Father and Son.

    Father and Son.

    Seattle and are drafted by him in Ollie’s absence to help stop Richard Dragon, the Fist Clan warrior who has his sights on ruling the Emerald City.  Also of note is the return of Komodo, aka Simon Lacroix, to the main narrative.  Komodo is the pretender to the chieftainship of the Arrow Clan, selected by the Outsiders to fill the role once the true holder of the Totem Arrow, Robert Queen, has been dethroned.  This honor bestowed on him is not something that the Outsiders, namely Spear Clan chief Golgotha, let him forget.  Komodo’s entry into the Outsiders inner circle is perhaps the most ominous and captivating development within the issue.  As ever, Jeff Lemire and artist Andrea Sorrentino deliver a phenomenal issue of Green Arrow and an iconic statement in comic production.  As both a writer and an artist, Jeff Lemire has a keen mind for visual storytelling and an apparent affinity for the character.  Over the course of thirteen issues his writing of Oliver has been somber, honest, and thrilling, showing that while Lemire may not love Ollie (he probably does though), he respects him.  No one who’s been on the title since the Reboot has given Oliver his due, playing him as a flippant buffoon with no idea what he is doing.  Green Arrow took up the bow as a vigilante for a reason and Lemire understands that where others have not.  Helping Lemire realize his vision of Green Arrow is artist Andrea Sorrentino, whose stark realist style adds drama and immediacy to the acts portrayed.  What Sorrentino also adds is an artistic approach to multi-sensory depictions of Lemire’s scripts.  Comics are a largely visual medium.  Sound can be insinuated through awkwardly inserted effects that are often overlooked and ignored by readers and touch, taste, and smell can be described contextually by characters or the narrator.  The lattermost three are not easily conveyed, but several times since November Sorrentino has employed an interesting technique of inserting the overwhelming sound effects that characters are hearing and using those as a visual filter for what the reader sees.  In November’s Green Arrow #25 Sorrentino displayed characters reaction to a violent explosion seen in the lettering of the explosive sound effect BOOM!  Sorrentino did it again last issue with the advent of the Shield Clan to the island.  This issue he utilized this effect for two more sequences that immediately made readers aware of the cacophonous din the characters were experiencing in a way that was inescapable but also visually stimulating.  With two graphic geniuses on this title how is it possible for comic book fans to NOT be reading it?!  If you haven’t read it, rectify that error and pick up Green Arrow #17 and take the fast train to having your mind blown.

    Sorrentino Word Art.

    Sorrentino Word Art.

  • Green Lantern/Red Lanterns #28 is a special flip issue combining Green Lantern and Red Lanterns into one book.
    In the Green Lantern portion writer Robert Venditti picks up where Green Lantern Corps Annual #2 left off with the deputizing of a slew of the Corps worst enemies into a loose alliance against a common enemy: the Durlans.  Despite this swelling of manpower, Hal Jordan still has a lot on his plate after the blindsiding assault the Durlans and their Khund allies launched, the decimation of the Blue Lantern Corps, and the conscientious objectors within his ranks that refuse to use their rings owing to their draining of the Universal Reservoir of Light.  There’s little else Hal can seemingly take, but unfortunately he gets a Red Lantern surprise in the form of a raged out, red ringed Supergirl spewing corrosive blood from her mouth.  With Saint Walker, the sole Blue Lantern, out of commission there is only one person left that Hal can call on to extricate this Kryptonian Red, prompting the flipping of the issue.  Red Lanterns picks up on Earth with Guy interceding on behalf of Skallox and Zilius Zox who are being assaulted by the Shadow Thief.  Guy attempts to defuse the situation without resorting to violence in order to show his former lover, Tora Olafsdottir (Ice), that he has changed.  Shadow Thief doesn’t make it easy, but with Ice’s help the situation is defused, albeit not in a way that Guy intended.  With dashed hopes he returns to Ysmault to find Hal Jordan waiting with a contingent of Green Lanterns and tenuously restrained Supergirl.  Guy and Hal’s reception is very icy, but with the wrath of Superman (whom at this point they only assume is related to this mystery Red) impending, cooperation is given.  Elsewhere, Bleez and Rankorr have come face-to-face with the reinstated Atrocitus who has brought a new Red Lantern into the ranks.  Atrocitus, true to his intrinsic nature, bears a massive grudge against Guy Gardner and those Red Lanterns that remained with Guy.  A fight ensues, which Bleez and Rankorr are unprepared for, prompting Bleez to make a strategic retreat for reinforcements while Rankorr pulls rearguard.  This issue by both creative teams of Green Lantern and Red Lanterns is enthralling to read and highlights the interconnectivity of the Lantern titles.  It is revealed here that Hal never actually said that Guy could have Sector 2814, just that he could have A sector.  Guy just presumptuously took 2814 without clearing it with anyone.  That makes me feel a little bit better about the situation, but I do still harbor a bit of an annoyance at Charles Soule and the Green Lantern Group editors for the Ysmault in 2814 decision.  It’s illogical and seems like a lazy plot-device.  Whatever.  The issue also came out before the actual sequence in Supergirl where the ring seeks her out, which happens later in the month in Supergirl #28, so her appearance is a little jarring considering the lack of explanation behind her transformation.  Those points aside, the war with the Durlans is a very intricate, multifaceted concept, and the reemergence of Atrocitus as the head of a tangent Red Lantern group, creating a schism in the Red Lantern Corps is rife with possibilities.  Venditti and Soule are the right men for their respective titles, even if they have their little hiccups.
  • Swamp Thing #28 opens a whole new chapter for our main character.  The Parliament of Trees is no more.  To save our world from a monster unleashed by the out of touch Lords of the Green, Alec Holland destroyed the Parliament from within, making himself the soul voice of the Green. He did this for the greater good, but this action could also appear to some as him basically making himself immortal, as his power will run in perpetuity from the Green giving him life without end.  Regardless of motive, the die has been cast and good or bad he will reap the whirlwind.  Before he brought the house of cards crashing down, he did pull three former avatars from the Parliament into the material world: the Wolf, Lady Weeds, and a third, very ancient Swamp Thing from pre-Roman times.  All three reenter the world at the age in which they were inaugurated into the Green as Avatars.  Though they are now mortal and are destined to live mortal lives, they meet the challenge with eventual gratitude. However, with his return to the mortal sphere Swamp Thing must find his former charge, the elusive Capucine, and make good on his promise to protect her.  It is while undertaking this task that we are finally told the tale of Capucine’s origin in 12th century France.  Her immortal youth, vigor, and martial prowess were the result of an alchemical experiment performed on her brother, herself, and another child by monks to forge them into immortal protectors of that Order.  Through the march of time and the shift of governing powers she was released from her bond, but not the price that the magics used on her exact.  That is why she seeks Holland’s help.  Charles Soule has really taken this series by the horns and made it his own.  It follows in the spirit of excellence that Scott Snyder began when he started the series in 2011, but the plot and world have completely shifted to fit Soule’s new paradigm.  I respect this a great deal.  Writers, even great ones, that try to live completely in the shadow of their predecessors rarely succeed.  With the departure of Snyder I was afraid this series would languish from the transition.  With the selection of Soule Swamp Thing will continue both in excellence and innovation.  I look forward to seeing what comes down the road for Alec Holland.

    Swamp Thing and the Avatars.

    Swamp Thing and the Avatars.

  • Batman: Black & White #6 concludes the six issue anthology series of innovative black and white stories following Batman’s exploits on the streets of Gotham.  This time around Cliff Chiang, Olly Moss, Becky Cloonan, Adam Hughes, and Dave Johnson render six interesting tales pertaining to the Dark Knight.  Cliff Chiang’s tale follows a young Dick Grayson in his initial days as ward to Bruce Wayne and the Boy Wonder, Robin.  In both instances Dick feels he has something to prove and Chiang’s narrative brings the reader into the young headstrong perspective of almost every teenage boy.  Olly Moss writes a story of a pretty, young socialite who spends a night with Bruce Wayne, only to wake up in the morning and find him gone.  Meeting with friends who had similar experiences, this story fleshes out quite interestingly the cloaking element of Batman’s dual identity.  In all cases, the women Bruce Wayne uses to perpetuate his playboy image are often in the background, but rarely are their thoughts and emotions given voice.  He is always cordial and in no way mistreats or disrespects them, apart from keeping them in the dark and sometimes ditching them.  All of the women in this story seem mildly vexed, but never offended, as Bruce later helped to propel their careers or social standings afterward.  Becky Cloonan does a fantastic job rendering these lovely women and the lavish scenes they are treated to by Bruce.  Adam Hughes writes and draws a very intimate story about Catwoman and the inextricable hold she has on Batman.  With Selina in a hospital bed, never to walk again the doctors say, Batman is forced to take responsibility for her condition and realize just how important she is to him.  It’s a very stark tale, beginning to end, that is good, but unsettling as well.  Dave Johnson provides another stark yarn dealing with the Dark Knight in a tertiary fashion.  Following the exploits of a cheap hood who tries to impress a woman with expensive appetites the reader sees how slowly through his own nemishness and greed he is brought low time and again by the Batman.  Batman is the impartial executor of the law that can never be escaped.  This story was entitled “The Man Who Beat the Bat” and it’s in those dark final panels that we see how a two-bit criminal can beat one of the most indomitable human beings on the planet.  Overall, this series has been a must read for Batman fans presenting some deeply thought provoking stories by some of the greatest writers and artists in comics today, and set in black and white, capturing the intrinsic ominousness of the material.  Six incredible issues that do the Dark Knight proud.

    The Man Who Beat the Bat.

    The Man Who Beat the Bat.

  • Trillium #6 marks the return of the title from hiatus.  When last we saw William and Nika they had switched places following the temporal shift of the Atabithi/Incan temple that served as a conduit between their respective space/times.  Now William is living in the 38th century as a human colonist fleeing the dreaded Caul virus and Nika is an Imperial officer in the 1920’s administering British authority in South America.  Both have memories of their past lives before the rift, which leads them to believe themselves insane.  Their perseverance despite this lends credence to the strength of their belief in their cause, but also the bond they share with each other.  Writer/artist Jeff Lemire credits this as “the last love story,” and by Jiminy that looks to be what he is delivering.  His storytelling is deft and subtle, and his artwork is without comparison, adding a very unique, enthralling ambiance to the reader’s immersion into the plot.  Lemire is one of very few writers with the mind to conceive such a story, and the even rarer talent of bringing it off almost single-handed.  There are only two more issues left and the suspense mounts with the ending of this issue. 
  • Ms. Marvel #1 was an unmitigated disappointment.  It should be noted that I haven’t spent my money on a Marvel comic in years.  I’m not a fan of what they had been doing with their brand across the board several years ago and I found the vast majority of their books to be unhinged from what made the characters good originally.  Not a general rule, but true enough from my perspective to preclude me from buying their products.  Ms. Marvel #1 offered several things that appealed to me, so I was eager to pick it up.  I am a HUGE fan of writer G. Willow Wilson’s previous work, most notably her postmodern series Air, and the concept of Kamala Khan, an Islamic teenager taking over the Ms. Marvel persona from her promoted predecessor, Carol Danvers, was also a really intriguing touch.  I, for one, am always a proponent for diversity in comic leads.  I’ve been a huge fan of the Batman Inc. concept and especially original Batwing, David Zavimbe, and his trials and tribulations as the Batman of Post-Colonial Africa.   Nightrunner, the Algerian teenager that became the Batman of Paris, remains in my top ten list of underutilized characters.  And of course, Batwoman was a series that took on a lead with an alternate lifestyle and made an instant classic out of her heroic journey.  Alas, Ms. Wilson wasn’t able to accomplish anything similar with Kamala.  Or rather she didn’t by the end of the first issue.  Basically, to sum up this issue, the reader is given a thorough look at the life of the modern American teen of Near Eastern descent and Islamic faith, through Kamala and her family.  Her parents seem religiously liberal, but socially conservative.  Her older siblings by contrast are more religiously conservative, leaving Kamala to wrestle between her familial culture and the ever pervasive counterculture of being a teenager.  With difficulty she holds off the temptations of keggers and bacon double cheeseburgers, but allows herself her vices such as superhero fan-fictions.  In essence this issue’s sole drive was selling the reader that Kamala is an angsty teen, that she is Pakistani by heritage, and she is a Muslim.  If this were an indy comic or an artistic imprint like Air or Wilson’s seminal Cairo that would make for a very compelling story.  It isn’t, though.  It’s the first issue of Ms. Marvel, a superhero comic.  In the last three pages Kamala becomes Ms. Marvel, but with no rationale.  First of all she has a dream that Captain Marvel bestows the powers on her, which is kind of weird and deus ex machina, leaving the reader with no legitimate idea of how these powers are granted.  Even by comic book standards of gamma waves, radioactive spiders, getting struck by lighting, and intergalactic power rings, having a dream and waking up with powers is farfetched.  But even that underscores the second and more crucial detraction to the title.  There is no REASON for her to be Ms. Marvel.  Probably everyone has heard the adage “When the need is great, the hero shall appear.”  That is an indispensable rule of thumb when it comes to superhero comics.  Batman wouldn’t exist if Gotham City were a paradise.  Without Superman, Metropolis would be a smoking crater from the ill-deeds of any number of his villains.  No matter the superhero there is something, established in their first issue, that gives their move into super-heroics not just purpose, but necessity.  Of the caveats to be played with in writing innovative, avant-garde modern superhero titles this is NOT one of them.  At the end of this issue we have a decently rendered teenager with a colorful personality that gets superpowers.  Great.  Hope she has fun with them.  Inherent in any competent origin issue you need two key elements: 1) development of character, 2) development of conflict.  The first requirement was delivered in spades, a testament to Wilson’s talent for characterization.  However, the second was barely attempted, given the bare minimum of effort in the form of a mysterious fog developing at a kegger Kamala attended earlier in the evening and left before.  No reason or consequence comes of the fog, apart from kids beginning to get sleepy.  Of these two elements, you ALWAYS err on the side of developing conflict over character.  Conflict sets the hook and develops the suspense that draws readers back to the next issue.  Characterization is something that continuously and organically happens as the title progresses. You don’t need to know EVERYTHING about a character before you introduce actual plot.  Wilson could have cut 40% of Kamala’s story out of this issue, distilled the important things that are imperative to know in order to understand her, and given us something to juxtapose her youthful idealism against, i.e. a consumerist crime kingpin, or an evil businessperson with sinister aims.  I’m spitballing here, but this most certainly was NOT a superhero comic, nor a befitting introduction of an altogether delightful young woman into the role of a venerable superheroine legacy.  I’m disappointed because of my respect for G. Willow Wilson as a writer and I am disappointed as a reader.  I might catch up with this series again when it releases as a graphic novel, but I am not going to gamble on its future with my hard earned, already stretched money.  It looks to be several more years before Marvel gets me to buy any more of their comics.  Better luck next time, folks.

    The New Face of Marvel.

    The New Face of Marvel.


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

Illustration Credits:

Detective Comics #28: Drawn by Aaron Lopresti, Colored by Blond, Inked by Art Thibert.

Green Arrow #28: Art by Andrea Sorrentino, Colored by Marcelo Maiolo.

Swamp Thing #28: Art by Javier Pina, Colored by Matthew Wilson.

Batman: Black & White  #6: Art by Dave Johnson.

Ms. Marvel #1: Cover Art by Sarah Pichelli & Justin Ponsor.


Nov. 13, 2013-Jan. 15, 2014

It has been a criminally long time since I have been able to sit down and interact with my comics in the form of writing this blog and externalizing my thoughts and appreciation for this incredible medium.  With this post I hope to highlight a few of the issues that I have loved in that interim and get back in the swing of reading my comics and writing about them to illuminate their content to others, but also myself.  So here goes:

  • Batman #25 tells the story of the Blackout in Gotham, but oddly enough doesn’t deal with the Riddler at all or explore the consequences of what he did.  Instead, writer Scott Snyder uses the Blackout as a way of the emergent Batman finding an environment in which his skills and innate qualities find fallow ground to root themselves.  Without the Blackout, Batman might have had to try harder to ingrain himself in the collective awareness of Gotham as a force for good and not just a crazy nutjob in a bat costume.  However, as mentioned before, the Riddler is put on the back burner after blowing the Gotham City power grid and submerging the city into chaos in the midst of an impending tropical storm designated “Rene.”  In his place, Batman sleuths a rash of bizarre . . . occurrences . . . in which victim’s bones grow uncontrollably like trees, bursting out of their bodies and leaving the carcass draped atop like a Christmas tree angel.  With some inadvertent tips from future police commissioner James Gordon, Bruce learns that the serum used was designed by a former Wayne Enterprises scientist, Karl Helfren, aka Doctor Death.  When he probes into Helfren’s past, Bruce also learns of an accomplice that will surely shock readers.  The issue is certainly shrouded in mystery, beginning with a brief two page cut to US soldiers in Nigeria finding a door in the ground hidden in the middle of an arid plain and ending with those soldiers dead and their trucks on fire.  How those scenes are rectified with  the main narrative is an intriguing question.  In the backup feature, Snyder and his protegee James Tynion IV write a tale of the Blackout told from the perspective of the average person, in this case a very young Harper Row and her little brother Cullen.  The two kids don’t have a mother and their father is a two-bit criminal and absentee parent, so it falls to them to look out for one another.  Cullen is scared, but Harper (who grows up to be a burgeoning electrical genius) makes a lamp for her brother to push back the darkness.  It’s not easy, but she’s able to overcome when the needs arise.  She tell Cullen that there are people out there that see fear and darkness and rise up to push these forces back and help those that are also scared.  It’s a brief yet poignant commentary on the superhero ideal and what breeds heroes.  Also noteworthy is Andy Clarke’s gorgeous artwork that creates a beautifully stark ambiance of Gotham life.  It goes without saying that Scott Snyder and Greg Capullo, with the added help of James Tynion IV and Andy Clarke, are making this book one of THE comics to pick up.

    What Makes a Hero?

    What Makes a Hero?

  • Superman/Wonder Woman #2 brings on the much anticipated continuation of last month’s meteoric first issue.  In Superman/Wonder Woman #1 writer Charles Soule delivered a very intimated and thoughtful examination of the relationship between two titanic figures of the DCU and the inherent hurdles they have to leap constantly in order to be together and understand one another.  If that was all the issue was it would have been worth the cover price, but Soule and artist Tony Daniel had far more in store for us, releasing perhaps the greatest surprise appearance of the year: Doomsday!  With Supes busy quelling a storm brought about by the monster’s advent, Wonder Woman finds herself going toe-to-toe with the abomination that in a different continuity killed her boyfriend.  Not something to be trifled with.  As this issue opens the Kryptonian horror delivers a sound beating on the unprepared Wonder Woman until it mysteriously phasing out of reality.  When Superman hears her story he immediately knows what the thing was from Diana’s descriptions and realizes that the seals on the Phantom Zone, a temporal extra-dimensional Kryptonian prison, are wearing thin meaning incursions by Doomsday and the other unsavory menaces imprisoned within might occur more frequently.  In order to prepare for the coming battle with Doomsday, should it reappear, Wonder Woman takes Superman to Mount Aetna to meet Hephaestas and commission custom armaments.  While there Supes also meets Apollo and Strife.  Apollo doesn’t make the best impression, following the very haughty modelling of Wonder Woman writer Brian Azzarello.  I know I am not alone in my dislike of Apollo, which is what makes his encounter with Superman so rewarding to readers.  Apollo is a very overconfident, arrogant ass and while he is IMMENSELY powerful, his being the sun god puts him at a unique disadvantage against the Last Son of Krypton.  One almost feels sorry for the jerk.  Almost.  With their order placed and one Olympian force fed a five fingered slice of humble pie, the stage is set for yet another mouthwatering introduction of a classic Superman character.  Soule and Daniel have this series locked down.  Soule’s writing is topnotch and shows a true love and respect for both the eponymous characters.  Superman is a humble farmboy with powers far greater than ordinary men and Wonder Woman is a proud and noble woman from a proud and noble race of myth.  Every word, every gesture, and every reaction is quintessentially appropriate to each.  Tony Daniel has been one of my favorite artist since he and Grant Morrison took on the Batman title.  As a writer I have enjoyed his work as well.  The man is a consummate professional and whether or not he has any say in the actual writing of Superman/Wonder Woman alongside Charles Soule, his ability as a writer no doubt helps him interpret the scripts to convey minutely the gravity and grandeur of the worlds this book is bringing together.  Wonder Woman and Superman come from two very elaborate time honored mythologies that Soule and Daniel are combining like true professionals.  This first run of the series is off to a commendable start.  If they can sustain it, this could overshadow the actual series of both characters.SupermanWonderWoman2-1

    The Hubris of Gods.

    The Hubris of Gods.

  • Batgirl #25 came off a little lackluster for me.  Dealing with the life of Barbara Gordon, it’s hard to figure out what the purpose of this issue was supposed to be.  It’s already established that Gotham was effed during the “Blackout” and in this tie-in Barbara is put in charge of her little brother, James Jr, while their dad’s at work.  He tells her to “mind the homestead,” but while he is gone the Gordon kids are forcefully evacuated because they are in a flood zone.  In the process young Miss Gordon sees how a disaster can turn regular people into savages.  The point of the issue is more about Gotham than Barbara, which is a little disconcerting.  Normally the Batgirl series focuses heavily on Barbara, which is a credit to series writer Gail Simone’s tenure on the title.  Simone GETS Barbara in a very quintessential way.  Marguerite Bennett penned this one, and I think as a newcomer her writing comes off a little green.  She kind of fumbled the Villains Month released introduction of the character Lobo to the New DCU, and this comic felt equally forced.  The look remains the same with series artist Fernando Pasarin providing art on the issue.  Simone comes back next month with the conclusion of her epic “Batgirl Wanted” arc, which should be worth the read.
  • Green Arrow #26 begins writer Jeff Lemire’s epic “Outsiders War” arc.  In his first arc, Lemire DRASTICALLY altered Oliver Queen’s life, taking away his company, framing him for murder, and clearing the board of a few characters from the initial issues of the rebooted series.  He also introduced the Merlyn-esque archer, Komodo, and the inklings of the larger organization Komodo belongs to called the Outsiders.  In his second arc he introduced the rarely utilized GA character, Shado, unused extensively since her creation in the 80’s by Mike Grell.  Komodo and Shado represent two halves of the life and ultimate death of Oliver’s father, Robert Queen.  With those in the rearview, we now enter into the actualization of Green Arrow’s destiny with Lemire’s third arc, entitled “Outsiders War.”  So far, Ollie has taken down Komodo (relieving the onyx archer of one eye) and on two separate occasions he’s taken down the Eastern European despot Count Vertigo.  Both of these men have strong ties to the Outsiders who themselves have very ominous plans for the Arrow Clan. Now Shado is taking him back to the island to fulfill his destiny by claiming the totem arrow that will grant enlightenment and dominion of those dedicated to archery.  Robert Queen sought the island and combed every inch of it looking for the arrow, explaining the picture that Oliver found of Robert, Komodo, and Emerson on the island in the lattermost’s office.  Shado drags him back and as the issue unfolds Lemire has Oliver slowly relive his time there.  His reticence to return can be summed up by the harsh memories he accumulated while stranded and his shame at being reminded of his past.  Ollie was a vacuous waste of space before being washed up on the island and his initial days there were spent shedding that shallowness and tapping into his intrinsic potential.GreenArrow26-1 Robert had instructed Oliver in archery, which Ollie’d never taken serious and rarely practiced.  Those lessons resurface and the birth of Green Arrow began while Oliver discovered the cost of survival.  The next step will be seen in later issues following Ollie’s capture by mercenaries in ski-masks.  Awakening from his deja-vu, Shado leads Oliver to the cave wherein lies the talisman his father had so desperately sought.  Meanwhile, the Outsiders have sent one of their own, a bear of a man called Kodiak, to stop Oliver from becoming the head of the Arrow Clan by claiming the “Green Arrow” totem.  Jeff Lemire’s hitting this one out of the park with his clear love and respect for the character of Green Arrow and his intricate weaving of a mythos that emanates from Green Arrow, but also through the Green Arrow title.  The Outsiders have figured cryptically into the background of the Katana series, where the Japanese warrior Tatsu Toro wrestles with the Sword Clan.  Whether Lemire came up with them on his own or collaborated with Katana writer Ann Nocenti (from whom he took over the horribly written and conceived Green Arrow title) what is obvious is that Lemire is the one running this ball into the endzone for what looks to be a clear touchdown.  The promise of what the Outsiders represent and the stories that will spring forth from this arc are destined to be comic book gold.  Series artist Andrea Sorrentino continues his tenure on the book adding a realism to it with his pencil and an ominousness with the very stark contrast between light and shadow.  Working together, Lemire and Sorrentino are the ideal team to make Green Arrow one of the best DC titles currently being published.


    The Fabled Green Arrow Totem.

  • Green Arrow #27 continues writer Jeff Lemire’s odyssey toward Green Arrow’s actualization in the “Outsiders War.”  So far Ollie has returned to the island on which he was marooned with the enigmatic archeress Shado in tow seeking the totem arrow that bestows enlightenment upon the ascendant to the chiefdom of the Arrow Clan.  The Outsiders (semi-unified cabal of clan heads) desire Komodo to take this position in their midst and dispatch the Shield Clan’s chief, Kodiak, and his Viking warriors to prevent Ollie from his destined enlightenment.  Picking up with the dramatic ending of issue #26, Ollie and Shado have found the Arrow Chamber, but as this issue opens they find that the totem itself is nowhere to be seen.  Ollie is shocked, but Shado, true to her fox-like, Zen nature tempers Ollie’s impatience with existential questions, all boil down to why and how Oliver came to be marooned on this exact island that his father, Robert Queen, had just so happened to be seeking for so long and upon which the elder Mr. Queen was murder by Komodo?GreenArrow27-2  The exploration of these questions is interrupted by the advent of Kodiak on the island and sporadic ’Nam flashbacks Ollie has to the crucible moments of his time on the island.  Issue #26’s flashbacks showed Ollie being forced to master archery in order to feed himself while awaiting rescue from the island.  The completion of that stage of his development ends with him being captured by masked paramilitary forces on the island.  This issue shows the next and most apocalyptic stage of his transition from soft billionaire playboy to cold hunter/vigilante.  The soldiers under the command of an Oni-masked man torture Ollie for over a week until Ollie snaps and in a survivalist act breaks through from his effete past to the stark figure he has become in the present.  While dodging the Shieldlings and regrouping Shado finally steers Ollie into understanding that his destiny wasn’t mere chance, but an orchestrated effort by individuals to guide him to becoming the avatar of archery.  Once this concept sinks in, Oliver’s Oni-masked antagonist reappears and confirms everything Shado said and removes the demon mask.  With the revelation of this person’s identity the absolute truth of their claim is baldly underscored, but more so the implications of who this person is changes everything the reader has come to believe about the Green Arrow title and what its has fought for.  Jeff Lemire is a genius. Unequivocally, he has taken this failing title and made it infinitely poignant, gripping, and one of the ‘can’t miss books’ of the DC lineup.  Called “Batman with a Bow and Arrow,” GA has been a C-list character with no superpowers who has often times been overshadowed by the more super, more overtly heroic characters of the DCU.  Only a few writers have been able to lift him above the camp and ridiculousness that have haunted the character since his inception.  Jeff Lemire has earned his place in Green Arrow history.  Lemire’s collaborator Andrea Sorrentino provides incredible artwork that in no small part makes this book so engrossing and visually stunning. The two look to be on the title for some time and that is good news for comic readers and the Green Arrow pantheon of characters.


    The Bloody Baptism of Green Arrow.

  • Superman Unchained #5 is a turning point in this celebratory “Super” series, revealing not only the nature of the enigmatic cabal known as “Ascension,” but also what their overall motivations, prompting their insane actions thus far.  At the conclusion of issue #4 the leader of Ascension told Lois Lane that General Sam Lane was “father” to both of them.  This turns out to not only be twisted hyperbole, but also a straight up lie no matter how you look at it.  One demerit to writer Scott Snyder.  Through the exposition provided by the Ascension leader, Jonathan Rudolph, Lois Lane and the audience are given incontrovertible evidence that this man isn’t merely misguided, HE’S NUTS!!!  The choice of fabled Ned Ludd as the “face” of their movement is apt considering that the group’s aims have been stated to be the downfall of technology with an anarchist rationale behind it.  The self-righteous rhetoric of Rudolph does nothing to rectify the collateral damage his insane venture will rain down on humanity nor does it in anyway come off as anything but uber-petulant and misguided.  Rarely nowadays are there examples of such clear cut psychopaths in leading comic titles.  Usually some sort of ethos, pathos, or logos is there to somehow give a morally ambiguous justification to the “villainy.”  The use of this kind of character is intriguing and either says something very good about Snyder’s writing or something very bad about it.  Snyder is an amazing writer that has risen meteorically to the top of the comic field in a relatively short period of time.  He is also an overtaxed talent that is writing several titles simultaneously, so it could go either way.  The rest of the title features Superman continuing his emerging relationship with the proto-‘Superman’, Wraith.  In order to continue their quest to locate and stop Ascension, Supes invites Wraith into his Fortress of Solitude.  Superman represents an impartial, unbiased, non-jingoist superheroic doctrine.  Wraith represents the exact opposite and has TOTALLY drunk the US military Kool-Aid.  Just being in the Fortress elicits a philosophical debate about alien technology and who should have custodianship of it: an impartial, responsible individual or the armed forces of one sovereign nation over the nearly two hundred others.  Superman has the moral high ground here, but Wraith cuts back with an equally poignant response involving Superman’s supposed “non-involvement” vis-à-vis his alternate persona of Clark Kent.  In this way, Superman represents what the character should embody and Wraith portrays what Supes was made to be like from the 1950’s through to most of the 70’s, towing the company line and representing “Truth, Justice, and the American way.”  Visibly absent from the first four issues is the looming figure of Lex Luthor awaiting the resolution of Superman’s battle with Ascension to pounce on the battle wearied Man of Steel.  Introduced in this issue is a flashback, drawn by backup artist Dustin Nguyen, that details Clark’s encounter with a sauced up, ignorant farmer that finds out his secret and tells him at shotgun-point that he can’t hide.  Though only seen in glimpses and lacking resolution, this flashback underscores brilliantly the constant dilemma Superman faces everyday by living among us as one of us.  Snyder has created in five issues a multifaceted series that expertly explores the character and all the aspects that have carried over from the original issues 75 years past.  Scott Snyder and artists Jim Lee and Dustin Nguyen have tapped into the pure essence of the Last Son of Krypton.
  • Teen Titans #26 finally reveals the story of Bart Allen after two and a half years of continuous storytelling.  We’ve been told in the past that he was a dangerous criminal that was reconditioned and sent back into the past where he would be cut off from the dangerous elements he incited.  Several months ago when the Titans were first thrown into the timestream Bart and his girlfriend, Kiran Singh (aka Solstice), witness his younger self attempting to commit an act of mass murder against the governmental body known as the ‘Functionary.’  Now after returning to his native time he is made to see everything he has forgotten after being taken back into custody by the Functionary.  After looking at his past I am finding it hard to look at him as anything as terrifying as he has been painted out of context.  The son of religious parents belonging to a Christian-like faith called Creationism, his parents were murdered for those beliefs.  He lets his parents die in order to save his infant sister, Shira, and get her away from the Functionary “Purifiers” that are initiating pogroms against his people.  He becomes a thief to provide for his sister and when she is imperilled he becomes a killer.  He finds sanctuary for her in a safe quarter while undertaking smuggling missions in unsafe conditions that normally killed the pilots after three runs.  Bart makes a couple of dozen until his number finally comes up, but when it does he doesn’t die, but rather attains the superpowers that connect him to the Speed Force and Barry Allen.  Then he initiates the rebellion of the Functionary oppressed that led to his capture and exile.  It wasn’t until his attacks almost killed Shira, that he abandoned the rebellion he started and turned himself in to the Functionary.  I have to say that this origin, while very compelling, failed to depict him as a criminal.  At least in my eyes.  Everything Bart did was for others.  He sacrificed everything for his sister and later for those like himself and his sister who were like rats being oppressed and constantly harried for no reason whatsoever except that their existence was inconvenient for those above them.  There was no Justice League or any apparatus to help the downtrodden so he initiated an armed resistance movement to create a better future.  As stated before there was a scene not fully fleshed out where he was going to do something alluded to being an atrocity.  If writer Scott Lobdell wanted to justifiably depict Bart as a monster he should have given more weight to that moment with more details or circled back around in this issue to that moment or one like it.  That isn’t to say that Lobdell is a bad writer.  On the contrary.  This issue made me feel for Bart and actually I am in his cheering section.  He looks at himself as a monster, just like all the others who have knowledge of who he was (or will be), but I don’t see that and I still see a hero who puts others and their interests before his own.  If I could actually talk to the character I would share with him the words of Barry Allen, the first Flash (in the New DCU): “Keep moving forward.”  Lobdell knocks it out of the park with the help of new series artist Tyler Kirkham.  Kirkham’s art is sharp, it’s vibrant, and his rendering of Bart gives fine detail to every evocative emotion the young hero feels, which once again roots the character in Kid Flash’s experience, making them feel exactly what he feels, enduring his pain as he struggles through unspeakable situations and revelling in his rare moments of triumph bore out of near constant suffering.  Thumbs up to both Lobdell and Kirkham.  This issue was worth the wait, if not shorter than such an immense story deserves.

    Doubt Anything Except a Brother's Love.

    Doubt Anything Except a Brother’s Love.

  • Talon #14 marks an end to the status quo under which the series has been proceeding since its #0 issue.  Calvin Rose was made a Talon after being groomed for the task by the Court of Owls as a young escape artist in the famed Haly’s Circus.  He quit after being sent to kill a beautiful security heiress and her young daughter.  Going on the lam with her, he developed a relationship with her, which he broke to protect her from the Court’s endless search for their missing “toy.”  While on the run, Calvin meets a man whose life was destroyed by the Court as well.  Sebastian Clark.  Clark helps Calvin hit the Court HARD, crippling much of their infrastructure.  In this guided crusade against their common enemy, Calvin meets up again with his former girlfriend, Casey Washington, and her daughter Sarah.  Soon after it comes out that Sebastian Clarke did in fact have his life destroyed by the Court, but it was because he was the disgraced head of the Court at the time of Batman’s interference and the fabled “Night of Owls.”  Danger literally lurks in all directions and Calvin is beset with daunting odds.  His immediate challenges include Sarah’s kidnapping and subsequent brainwashing by the Court, Clarke has a plan afoot to raze Gotham, and a serum has been injected into his bloodstream that melts necrotic tissue, i.e. his entire body.  To a lesser extent Batman has harried most of Calvin’s moves, because no one operates in the Bat’s backyard without his say-so.  However, despite the insurmountable obstacles Calvin is very much like the classic Jack Kirby creation, Mister Miracle.  Both are master escape artists, and like Miracle, Calvin will not be deterred by any odds, even if Batman is counted among them.  With the conclusion of this issue the Court of Owls still exist, but they are once again weakened and the more pressing threats to fair Gotham put to bed for good.  Calvin’s main objectives are accomplished, but his journey toward ending the Owls’ reign continues, albeit under new circumstances and with new allies.  Writer James Tynion has taken the concept of the Court of Owls and made good use of it with the fifteen issues of this series he has written.

    Batman Inc Just Got a Little Bit Cooler.

    Batman Inc Just Got a Little Bit Cooler.

  • Red Lanterns #26 after the big fight between Relic and the remaining Lanterns of all colors, the Reds were given authority of Sector 2814, which contains our solar system.  To demonstrate their authority they attempt to take out one of the greatest evils of our Sector in the form of a despot named Marshal Gensui.  Gensui has enslaved the secondary race of his world and used them as slave labor to build a sphere around their sun to harness its energies to use for his own ends.  Going up against the forces of the planet Kormorax the Red Lanterns, under the command of Guy Gardner are in hot water.  Marshal Gensui has made a career of culling rage, using his intimidation tactics and scientific acumen he has pacified the brutalized masses he exploits.  With those same technologies he pacifies the Red Lanterns, the angriest individuals in the universe.  With that taken into account, writer Charles Soule concludes the two issue arc with an examination of the kinds of rage that exist and how each type fits various situations in better ways.  Peter Milligan, the original Red Lanterns writer did this very well in the past, making a point of highlighting tertiary Red Lanterns who weren’t as popular and whose backstories haven’t found their way into past issues.  One Red, the ox-skulled Skallox, was a murder and a scoundrel sent up the river by his boss as a liability, another named Ratchet was an individual living in an isolationist, dystopian nightmare that craved interaction and was imprisoned and mercilessly tortured for years as a result.  Yet again Soule highlights two lesser Red Corpsman and their individual brands of rage to show the strength of each.  Zilius Zox takes a lead role in these issues, but Ratchet once again shines above the rest.  While he and his fellow Reds are in a stupefied, euphoric haze due to Gensui’s crowd control technologies Ratchet is able to throw off the stupor with his rage, despite the most powerfully ravenous Reds being unable.  What really highlights his character, and it a lot of ways finishes what Milligan began in that bygone issue, was the totality of Ratchet’s capabilities.  Ratchet wasn’t a bad guy.  He wanted friendship and comaraderie and his inability to do so was what fueled his rage.  Being a Red Lantern gave him his hearts desires so slowly his rage was subsiding, which meant that he wouldn’t be able to wield the ring, which also meant that the ring would no longer be able to keep him alive as it did all Red Lanterns whose blood is replaced with a napalm fluid of refined hate.  He was dying no matter what happened, and what he accomplishes in this issue not only expedites that end before prolonged suffering, it also made an enduring place in the hearts and minds of his fellow Corpsmen.  Soule inherited a vast legacy from Peter Milligan and has made proper use of it, penning a fantastic series.

So ends an abbreviated catchup to the weeks missed in my absence. Check back to this post periodically as I will probably take on some other issues that are of note.

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

Illustration Credits:

Batman #25: Art by Andy Clarke, Colored by Blond.

Superman/Wonder Woman #2: Drawn by Tony S. Daniel, Colored by Tomeu Morey, Inked by BATT & Sandu Florea.

Green Arrow #26 & 27: Art by Andrea Sorrentino, Colored by Marcelo Maiolo.

Teen Titans #26: Drawn by Tyler Kirkham, Colored by Arif Prianto, Inked by Art Thibert & Dan Green.

Talon #14: Art by Emanuel Simeoni, Colored by Jeromy Cox.

Nov. 6, 2013

November begins and with it a whole new batch of incredible comics.  Forever Evil has been incredible, as has Action Comics, Detective Comics, Green Arrow, Green Lantern, and Trillium.  All have been primed for greatness this month.  Action, Detective, and Green Arrow are scheduled to be a part of the overarching “Blackout” event, set in Gotham when Batman was first getting started and the Riddler cut the power to most of Gotham.  This event seems jarring to the continuity of each series, so whether “Blackout” fails or succeeds remains to be seen:

  • Forever Evil #3 carries on from Justice League of America #8, answering the question of what the prison the Justice League has been trapped in is, as well as the reason why the Crime Syndicate didn’t just kill them. The prison isn’t a what, however, it’s a who. When the Crime Syndicate attacked the Justice Leagues, Deathstorm attacked Firestorm, messing with the latter’s matrix and in the process accidentally sucked the Leaguers inside the prison of the Firestorm Matrix. Following the ending of Justice League #24 Ultraman dukes it out with Black Adam and the two light it up. The fight is like a more intense version of the battles between Superman and Captain Marvel from the past. While Superman and Captain Marvel have restraint and innate decency, Ultraman and Black Adam are motivated by brutality. Ultimately, Ultraman is the more ruthless so he comes out ahead, but Black Adam does make him bleed which is very unsettling for Ultraman.  If he can bleed, then he is weak. Elsewhere, Deathstorm and Power Ring are dispatched to put the Rogues down in Central City and as a result Deathstorm unravels the recoded DNA within Captain Cold, unseating his freezing power from his genome. Mirror Master saves the Rogues and transports them out of Central City, stranding Cold in Metropolis where he hooks up with Lex Luthor and Bizarro. Not long later, Black Manta shows up with an unconscious Black Adam in tow. Five not so evil supervillains against a world gone mad. Forever Evil has cast a wide net over many different subplots and characters of different motivations and alignments. So far Geoff Johns is writing an incredible series, but as evinced in the past, he can mess up a great series in a ‘Flash.’  As of this third issue and the well orchestrated shoot offs in various series the concept is solid, well thought out, and expertly utilized with the best and worst men and women of the New DCU’s pantheon of characters. David Finch’s art remains some of the best work put out currently in comics, doing its part to make this event what it is.  Johns and Finch have earned another month of anticipation.

    The Best of the Worst.

    The Best of the Worst.

  • Superman Unchained #4 presents another epic installment in a massive series, similar in scope to Forever Evil, though admittedly relegated to the Superman mythos. In the first issue Superman ran into another super-powered being named Wraith, who was the first “superman” to fall to Earth, and used by the US government for super secret meta work including the bombing of Nagasaki in WWII. The bombing of Hiroshima did involve a functional atomic bomb. Nagasaki was orchestrated by Wraith emitting a mock nuclear blast that caused all the same effects when a second bomb wasn’t able to be fabricated. Despite being pitted against Superman, Wraith takes him under his wing and the two end up in Tokyo, where this issue finds its beginning. A terrorist group called Ascension has been plaguing the Man of Steel, crashing satellites and causing all manner of mischief under a cover of proletarian revolution and masked by holographic images of a British folk hero named Ned Ludd. Fun fact: the term “luddite” comes from his name and denotes anyone who disdains the advancement of technology. Funny, considering that these men and women use cutting edge technological marvels as their primary weapons against Superman. They are also remarkably well informed about his physiognomy, utilizing bullets that emit red solar radiation around themselves to soften Superman’s skin to allow penetration. Sounds like a stretch, but hey, it’s a comic. Supes and Wraith have a time of it, fighting Russian automotons built specifically to kill Kryptonians, but with their combined ingenuity and determination the Supermen prevail. Elsewhere, the escaped Lex Luthor has captured Jimmy Olsen and not only predicts Superman’s impending death, but acts it out with origami figures of well known DC characters. What proves his clairvoyance in this matter is that his prediction of Superman’s death has nothing to do with him and casts another character as Supes’ preordained killer. Writer Scott Snyder’s choice as to Superman’s proposed assassin is quite apt. And on the other side of the world Lois has crash landed the plane she was in off the coast of Nova Scotia, where she and the crew are saved by a former Ascension member who has a crystal that he desires delivered to Superman. He is dying and implores Lois to get it to him, as he also knows that Superman will be dead very soon. Ascension does catch up with Lois and she falls into their hands, prompting another major reveal about who they are and where they fit into the Superman mythos. This series is so quintessentially Superman, which is pretty much the point, considering that it is being written as a 75th anniversary celebration to the first comic book superhero. Scott Snyder and Jim Lee are the two creators best suited to realizing that goal.  Snyder is comics’ golden boy who takes canon and reinvents it in intelligent, thoughtful ways making them new but retaining the key notes that still resonate with the faithful readers. The core component in his stories is a love of the material and the characters that have inspired generations for three quarters of a century. Jim Lee has been a maverick comic artist since his debut in the early 90’s and his style has become a hallmark that has birthed many emerging talents that imitate his masterful lines. Snyder’s writing and Lee’s art are both at their peak in this series that has the potential to be a legendary moment in Superman lore. 
  • Action Comics #25 kicks off the “Blackout” event going on throughout the DCU this month. Odd that it wouldn’t be done in the main Batman title, but perhaps setting up the mystique is part of the allure. The setup was introduced in the final pages of Batman #24 so that could be seen as a legitimate jumping off point. In this tie-in a young Superman is also breaking out of his shell, much like his future friend and currently burgeoning crimefighter, Batman. Superman takes down some high-tech villains with ease and upon retrospect realizes that with his seemingly limitless powers he is perhaps overkill for the crimes he is fighting. With a record breaking storm bearing down on the East Coast, Clark decides to try a hand at subduing Mother Nature. In her he meets an opponent he cannot surmount, which lends an air of humility to his psyche. Writer Greg Pak tackled a young Clark Kent in Batman/Superman #1-4 and here he renders him in much the same way, patterning his representation off of the flawed beginnings of the character seen first in Justice League #1. So bad was that representation that Pak jumps the gun and has him experience that moment of humility, which if continuity serves, doesn’t take, giving way to a returned obstinance when he and Batman do meet for the first time in Justice League #1 years later. Thematically the tie-in of Action Comics to “Blackout” is really intriguing and Pak hits a line drive with it. Bruce and Clark actually have a lot in common when the events of this book unfold themselves to the reader’s eye. Both Bruce and Clark lead alienated adolescences that belied their plans for future greatness. Both had limitless potential (Clark’s being biological and Bruce’s monetary and psychological) that land them respectively in uncharted waters that are not easily navigated. Pak also includes in this issue the first introduction of Lana Lang (childhood friend and first love of Clark Kent) into the New DCU as a fleshed out character. Her path intersects with Clark’s during the Blackout in Gotham, and circles back in a cutaway backup feature that brings events into the present, the ending of which seems to set the stage for next month’s issue where Greg Pak returns to the present of the Superman continuity. Providing art on this issue in the main feature and part of the aforementioned backup is Aaron Kuder. Kuder has done fantastic work with Superman, providing art for Scott Lobdell on and off in the main Superman title, as well as writing and illustrating the Villains Month Parasite issue in Superman #23.4. With Pak, who has proven his Super-chops, the pairing of these two men on the coming arc of Action is something to anticipate impatiently.

    A Self-Aware Superman.

    A Self-Aware Superman.

  • Detective Comics #25 continues “Blackout”, beginning the story of what it meant for Gotham residents. While Bruce Wayne himself may be the keystone figure in the war for Gotham, the story of Gotham’s salvation begins before his return with the career of James Gordon.  A police lieutenant from Chicago, Gordon was straight as an arrow and tried to operate within the system to save a very broken city. Because of this he initially came down hard on the emerging vigilante known as Batman. However, as time progressed his views began to change. This issue by the incomparable writer John Layman chronicles the moment when his thoughts make the full 180 degree turn around. It all begins when Gordon is assaulted by a group of crooked cops and thrown off the New Trigate Bridge as a “suicide.” We are told that the Trigate has hosted over 2,000 suicides, and less than two dozen survivors, all sustaining MASSIVE internal injuries. Gordon walks out of the Gotham River unscathed with hell in his eyes. Layman then cuts to a recap of past events. In the wake of the Red Hood Gang’s reign of terror on his city another splinter group call the Black Mask gang rises up pulling violent raids on strategic locations and materials in prep for the coming super-storm, Rene. Gordon has the talent and the initiative to bring them down, but he’s saddled with a “screw up” partner and harried at every corner by “incompetence” by his fellow officers. He soon realizes it’s not ineptitude he’s encountering but well orchestrated choke-artistry. The system is corrupt and as a result, playing by its rules will preclude the advancement of justice. Here begins his appreciation of vigilante tactics. Good detective work leads him to Janus Cosmetics, run by a man named Roman Sionis who the Batman faithful will recognize as the criminal known as Black Mask. Going out on his own Gordon finds out that Sionis has a bevy of Gotham PD officers in his pocket as a private enforcer corps. It is while trying to uncover this ring of dirty cops with an internal affairs officer name Henshaw that he is ambushed, with Henshaw at the forefront of the beat down. Batman may be smooth in his exits, but Gordon proves to be his equal in entrances, walking into the station house after his plunge into the Gotham River as Henshaw finishes telling their fellow officers what “happened” with Gordon’s “suicide.” Gordon calls B.S., delivers as killer right cross to Henshaw, knocking him out for the count, and reveals documents stolen from Henshaw’s home detailing the names and accolades of his fellow dirty cops which he kept as an insurance policy. With this declaration the milk separates and the dirty cops show their true colors at the threat of exposure and the clean cops do likewise, including a very heroic sergeant named Bullock. The policeDetectiveComics25-1
    Separating the Wheat from the Chaff.

    Separating the Wheat from the Chaff.

    department gets a thorough cleaning and in the wake of the scandal Gordon is placed as police commissioner. Trying to conceive how he could have survived the drop from the Trigate, he comes to the conclusion that he may have had some help from someone drawn to the light shone from him flashlight. In future, he decides to use a bigger light to call his “friend.” As usual, there is a backup feature in this issue that details a man that jumps from the same bridge and before hitting the ground is drained of his blood and stripped of most of his flesh. The obvious association is Kirk Langstrom’s Man-Bat and his former wife, Francine’s She-Bat. If that is the case I cannot wait for next month’s issue.  John Layman is a writer that has done nothing but increase the prestige of the Batman mythos and make Detective Comics a title that cannot be missed. Jason Fabok’s incredible art on the main feature furthers the title’s excellence and “must-get” status. The two’s collaboration is almost at an end and the departure of both is something to be lamented, but what they have achieved will be carved into the bedrock of Batman legend forever. DetectiveComics25-3

    He's Gonna Need a Bigger Light . . .

    He’s Gonna Need a Bigger Light . . .

  • Green Arrow #25 shows what Oliver Queen was up to during the Blackout in Gotham. Around this time, when Bruce Wayne was first making his name as the Batman in a Gotham plunged into turmoil, Oliver returns home to Seattle after years on the island. When he comes back, the first person he confides in is Walter Emerson, acting C.E.O of Queen Industries and his father’s bestfriend.  Immediately, he is made aware that his mother is not in Seattle having gone to Gotham to help with relief efforts of the Blackout and the subsequent Hurricane Rene. Gotham is a dangerous city at the best of times, but turn off the power and add a natural disaster and you have a powder keg of humanity’s worst qualities. Without blinking, Oliver sets out for Gotham in his prototypical Green Arrow persona. His mother is holed up in a relief center with two bodyguards, including an African American gentleman named John Diggle. Fans of the Arrow television series rejoice! The much beloved Dig has made it into comics. The center is attacked by a Gotham nutjob wearing a mask and wielding a compressed air gun that deflects bullets and creates sonic booms that shatter glass and concrete. When this man, calling himself Killer Moth, attemptsGreenArrow25-1 to kidnap Moira Queen he is met with an arrow shot through his hand . . . by Batman with a crossbow. The two Gotham “freaks” duke it out and the rookie Batman lets Moth get the drop on him with his air-gun point blank to his cowl. Luckily Green Arrow looses an arrow that disarms him, giving Batman the chance to rally. What began as a fight between the Bat and the Moth quickly develops into a pissing contest between Batman and Green Arrow to determine who’s the hero and who’s the amateur. There are good cases for both sides. However, while all their physical blows go into turning Killer Moth’s face into schnitzel, their verbal assualts are keenly leveled at eachother. Clearly, the billionaire vigilantes are too
    Battle of the Billionaires.

    Battle of the Billionaires.

    similar for comfort and at an impasse. Moira Queen, however, chooses her hero and sticks with Green Arrow. But unlike in every other incarnation of the series (most of which result in her death before the advent of Green Arrow) she immediately recognizes her little boy despite the changes the island wrought in him. The issue’s main feature ends here, hinting at the events on the island being told in the coming “Outsiders War” storyline, beginning in December. It then transitions into a backup feature that takes place a month after the Gotham Blackout and the uniting of Oliver and Diggle as partners in Seattle vigilantism. Entitled “New Tricks” it serves as a more comprehensive introduction to Diggle and cementing him as a character almost identical to the original created for the CW television series “Arrow.” He is still a bodyguard that works for Queen Industries after having served two tours in Afghanistan. He is a soldier lost with no war to fight. He is dismissive of costumes and masks and fights in the shadows backing up Oliver, letting him garner all the credit under the nom de guerre of Green Arrow. The only discernible difference is that his wellspring of motivation doesn’t come from a slain brother, Andy, but rather a fallen cop father, killed in the line of duty to better the city of Seattle. The backup also skips ahead to a moment when the two broke their association, leading Dig to pursue his own course to saving the city. Both the main and backup features are brilliantly written by Jeff Lemire and drawn by two artists whose skill and styles quintessentially capture the core traits of the character. Andrea Sorrentino has worked with Lemire now on ten issues and brought a gritty, shadowed realism to the pages of Green Arrow that underscores Oliver Queen’s humanity and vulnerability amid that insane events that beset his every waking hour. The backup feature’s art is provided by Denys Cowan whose pencils when inked by the very heavy pen of Bill Sienkiewicz evokes the same style as one of the greatest Green Arrow writer/artists of all time: Mike Grell. Though slightly different and with his own flavor, Cowan brings a nostalgic touch to the backup adding an authenticity to Green Arrow faithfuls who’ve journeyed with Oliver Queen through several decades. Overall this “Blackout” tie-in did more to actualize its own series than to validate the Batman event it was co-opted by. One should expect nothing less from Jeff Lemire. 


    A Mother’s Love.

  • Green Lantern #25 begins a brand new era in the Green Lantern universe following the massive conclusion of “Lights Out” last week in Green Lantern Annual #2. Writer Robert Venditti has firmly set a new status quo in motion and it is tenuous at best. Much like Charles Soule’s taking over of the Swamp Thing title and the necessity to make it his own after being painted into a corner by his predecessor, Scott Snyder, Venditti probably set about changing things up to allow more freedom after the departure of Geoff Johns whose massive eight year run on the title went to the limits of where he possibly could take the characters. Venditti has pulled a real gambit, making the light that the various Lanterns use a finite resource that needs to be conserved. With that in mind, Green Lantern hetman Hal Jordan unilaterally makes the decision that the Green Lantern Corps’ role in the universe should be Light policemen, busting those that would squander it by themselves using the light to prevent others from doing the same. Hypocritical to the nth degree and extremely limiting in scope. I hate to say it, but this might be the end of Green Lantern for me. I want to believe that
    Do NOT Mess With Kilawog!

    Do NOT Mess With Kilawog!

    the title can persevere, but the concept has taken too drastic of a turn and while Hal Jordan once was depicted as a guy that did what had to be done with circumspect, Venditti really is turning him into an unlikable tyrant with no sense of honor or loyalty to his friends. It started with his exploitation of Guy Gardner, whom I’ve always disliked, but sided with wholeheartedly when Hal twisted his arm into spying on the Red Lanterns then later reneged on the deal to extricate him if things got dicey. I thought it’d be a cold day in Hell when I took Guy’s side over Hal’s. Robert Venditti expedited that moment drastically. He also has put distance between Hal and his long time on-again/off-again girlfriend, Carol Ferris, which isn’t a surprise, but taking it one step further, he created a relationship between the fiery Star Sapphire and White Lantern, Kyle Rayner. I love Carol Ferris. I love Kyle Rayner. I DO NOT like the two of them together. There is no reason narratively or contextually for that to be a good idea. Maybe Venditti will find a way to make it work, but so far it seems like he’s doing things just for the sake of doing them. I hope I am wrong. I hope that he’s got a decent plan with payoffs coming soon, because I do not want to stop buying this title, but I might have to do just that. Besides the explanation of the Corps new and updated mission statement and the reassignment of the planetary Green Lantern, Mogo, as the new GL homeworld, the plot of this issue fell heavily on Hal and Kilawog going to the planet Dekann and apprehending the rogue Star Sapphire, Nol-Anj. She intrigues me and is the one tether that is currently holding my attention. Hopefully that tether is towing more substantial storytelling to come, because I’ll repeat that the tether is tenuous, just like Venditti’s current plot points. The true saving grace of the series is artist Billy Tan.  Tan’s art is fantastic and his rendering of the script visually is nothing short of stunning, including a scene of Nol-Anj sending out her Sapphire tethers to those she loves all across her world.  If Tan continues on as artist that might also compensate for Venditti’s authorial shortcomings. 


    The Tethers of Heart.

  • Batman/Superman #5 ushers in the second arc of this title and finds writer Greg Pak settling into a storyline that is much more in tune with the previous Superman/Batman title, pre-Reboot.  Right off the bat (pun intended) he reintroduces the non-villainous version of the character Toyman, this one a young Japanese tech prodigy in his teens named Hiro Okamura.  As the issue opens Superman is saving a space shuttle from a meteor shower leaving Batman to deal with Metallo, now known as Metal Zero.  It takes some serious moves, but Batman beats him and slinks off into the shadows after a tete-a-tete with Superman.  Alarmingly, Metal Zero disappears in a burst of light shortly after Batman’s departure.  Enter Toyman, who has created a computer program where you can fight Superman and Batman.  LITERALLY!  It’s hazy whether he is aware that it’s real or not or that the consequences of it are, but Hiro’s excited about it and gets several elite beta testers to play it, including Jimmy Olsen.  When Batman crashes the party and extracts Hiro, Mongul shows up as well, though his connection to the plot is also really sketchy.  Further sketchy is his story.  Mongul showed up for the first time in a decently written Green Lantern issue during Villains Month with no connection to Earth whatsoever.  Here Batman states that Mongul tried to take over Earth “several years ago.”  I hate to sound nit-picky, but I feel like Pak dropped the ball on this one if he is going to introduce a character into the main DCU post-hoc with no explanation of what happened in the past or why the character is there in the first place.  He could do that in the next issue, but it just seems sloppy to introduce a character for the first time but not the “first time” contextually and not immediately clarify the circumstances of the omitted previous encounter.  Also strange was the sideways storytelling of this issue, having the reader hold the binding upward like a calendar and reading vertically.  I get that it allowed Pak to split the story to Batman and Superman’s POV with demarcated sides, but that only happened on three pages.  The rest easily could have been done drawn regularly and ended up producing a very awkward read.  Overall, this issue was really jarring to read.  A pity too, because so far Pak’s work with DC has been stellar and his first four issues of this series (five if you count the Doomsday issue during Villains Month) were incredible.  Brett Booth comes on the series this month as artist and truly is a saving grace for the issue.  His art is smooth, well rendered, and very pretty when colored by Andrew Dalhouse.   This arc could improve, but this issue wasn’t the best introduction to it by any stretch.
  • Batwing #25 is yet another “Blackout” tie-in, discussing what future Batwing, Luke Fox, was doing six years before the current timeline around the time of the Gotham City Blackout. Even in prep school Luke had a fascination with the martial arts and attended classes with a retired MMA fighter he calls Master Torres. He brings along his nerdy friend Russell in the hopes that Russell will pick up some moves, but more importantly the confidence to stave off people that pick on him. Master Torres and Luke both positively promote the concept that life isn’t fair and the only way to survive is to proactively do what you can to fix the things in your life that lie within your control. Master Torres tells Russell that he himself succumbed to anger that festered in his heart, prompting him to do unwise things. Now he teaches people to avoid these mistakes. On the train ride back to their dorm they are accosted by a gang and Luke snaps into action breaking the leader’s arm and beating the snot out of his lackeys. When they exit Russell freaks out that the gang members will find them and try to get even. Luke tells him not to worry, but also apologizes for acting without thinking. Russell tries to go back to the way things were, but the bullying at school gets worse and worse and finally in a moment when he can’t take it any longer he also loses his cool and picks a fight with someone he shouldn’t. Both Luke and Russell are shown to be susceptible to impulsive decisions that inevitably mature into awful mistakes. The gang members do find Luke and they knock him down with a car before attempting a point blank 9mm coup de grace. Batman arrives to save Luke, who holds up his end of the fighting, drawing Batman’s attention, which Luke narrates retrospectively. In his case he learns his lesson and faces his error. Russell on the otherhand, takes Mexican drugs called “Snakebite” that seem like a proto-Venom type drug. He goes on a rampage killing a classmate and attempting to blow the Gotham City levees to wipe the boarding school and everyone in it off the map. Luke finds out about it and attempts to talk his friend “down from the ledge.” Russell ends up getting blown up by accident when Luke accidentally hits the detonating switch after taking the controls from him. Writers Jimmy Palmiotti and Justin Gray do a decent job with this issue and are beginning to make me believe in Luke Fox as the protagonist, but have not come close to making me prefer or accept him over David Zavimbe.  Sorry guys, but David was too good of a character to be tossed aside like this.  Good work with Luke, though.  He’s an okay character and I will continue to read his stories. 
  • Phantom Stranger #13 is a character issue. There are events chronicled within, but for the most part its primary effect is granting the reader with very telling views into the nature of several complex figures in this title’s cast of characters. As last issue left off Phantom Stranger, formerly posing has happily married father of two, Philip Stark, returns to his house only for the real Philip Stark, now transformed into the hellish, transcendental entity known as the “Sin Eater,” to appear and burn it to the ground. As ever they argue over who was actually Philip Stark and who had the right to call Elena Stark and the kids their family. It ends with the Sin Eater leaving and the Phantom Stranger erasing minds to put the whole affair to rest with his departed family. Stranger still is the appearance of the angel Zauriel at Phantom Stranger’s side. Zauriel was the angel that warned him not to enter Heaven and then erased him from existence for his transgression. The Phantom Stranger is weary of his presence and his council, but the archangel proves to be compassionate, sincere, and wise in his councils. He shows the Stranger the graves that his “family” has been put to rest in and explains that Sin Eater, who in life attempted to murder his family brutally, was the one who interred them. Objectively, Zauriel also rationalizes the Sin Eater’s actions, not to forgive them, but instead put them into context, which in a twisted way were motivated by love. He then shepherds the Stranger to the house of Arthur Light, the man he attempted to bring back to Earth from Heaven, allowing the Stranger to deliver the bit of Light’s soul that he wanted his family to have. It goes into the house like stardust and enriches their dreams with peace. Then the Stranger goes to find the Question, the third and most mysterious member of the Trinity of Sin (Pandora being the other) who impaled him with the Spear of Destiny, almost killing him. He beats the crap out of the Question, but as the fight commences he realizes something very important. The Stranger has been wallowing in pain, shackled with the weight of his sins after betraying Christ as Judas Iscariot and forced to walk the earth with the necklace of silver coins around his neck. He cannot escape his past. The Question for all his Socratic mystique and feigned wisdom is clueless about the things that are most integral to a person’s identity: Who he is and what crimes led him to have his identity and history stolen from him. He envies the Question his unburdened future and obliviousness towards the painful memories of his past. The Question envies the Stranger his knowledge of who he truly is. The grass is always greener on the other side, it would seem. It is then that the Stranger learns to understand and most importantly to forgive. But that lesson is cut short when all three members of the Trinity of Sin are summoned to the Rock of Eternity, the place where as humans Judas, Pandora, and the questionable man who would become the Question were first cursed with their aimless immortalities. John Constantine, Swamp Thing, and the Nightmare Nurse have a job for them. J.M. DeMatteis writes this issue like a symphony. It is bursting with lush characterization, semi-theological philosophy, and universe shaping plotpoints. He has a reputation with some of his previous works includingthe 90’s series Justice League International and the current series Larfleeze to be something of a cutup and satirical writer with little seriousness. This issue is dead serious and beautifully reasoned in the rhetoric of each character. Fernando Blanco provides art and his style is seamless with the past work put in by Brent Anderson, Philip Tan, and Gene Ha. Overall, this title has not lost a jot of its poignancy over the 14 issues that have been published so far. It remains one of the most prescient series put out by DC.
  • Earth 2 #17 represents a changing of the guard with original series writer James Robinson leaving the title and newcomer Tom Taylor taking up storytelling with the continued help of original series artist Nicola Scott.  Robinson is such a dynamic storyteller and his work so topnotch that this impending change has been nerve-racking to contemplate.  Especially considering the shock ending of last issue with the revelation that Earth-2 Superman is enthralled to Darkseid.  As the issue opens Superman cries havoc and lets slip the dogs of war.  After “bruutally” slaying Steppenwolf under the assumed name Bruutal, he sets on the World Army crafts, slaughtering wholesale.  He is invulnerable, leaving few options to stem his rampage.  Only Doctor Fate can stop him, as Supe’s main weaknesses are kryptonite, red solar radiation, and magic.  A good plan in theory, but not in practice.  Elsewhere, General Sam Lane embeds the thoughts and memories of his departed daughter Lois into the feminized Red Tornado automaton.  In that same compound the new
    A Father Dies to Bring His Daughter Back to Life.

    A Father Dies to Bring His Daughter Back to Life.

    Batman infiltrates the bowels of the World Army’s secure lockup where the most violent criminals are kept.  They are sealed away in stasis tubes so that they can never do harm again.  Lane authorizes lethal sterilization of every inmate if a breach occurs, but Batman wants them released in hopes of saving the world with the twisted minds best equipped to take out a “superhero.”  It is insinuated that Batman was once a villain before adopting the cowl.  Bruce Wayne is dead, so the identity of his replacement is a tantalizing secret that hopefully won’t be stretched out too long.  Tom Taylor barely made a ripple in this issue.  The narrative seamlessly transitioned from Robinson’s run to his without the slightest stylistic or tonal change.  That’s ASTOUNDING considering Robinson’s immense talent.  Nicola Scott didn’t flinch in the quality of her artistic renderings either, meaning that for Earth-2 fans it is business as usual and all will be well.  I am overjoyed that I won’t have to wonder what might have been.  No doubt Robinson would have done things differently and perhaps I might wonder, but the chameleon-like continuity of Taylor’s extension makes self denial very easy, and one could simply say this is what Robinson would have done because it feels like his writing. Taylor has me onboard for his run of this series. 

    A Darker Dark Knight.

    A Darker Dark Knight.

  • Swamp Thing #25 picks up with the conclusion of Swamp Thing Annual #2.  Alec Holland, Avatar of the Green, has been challenged for that title by Jason Woodrue, known as the Seeder. Last week’s annual had Alec being prepared for this challenge by former Swamp Things who have taken their place in retirement as members of the Parliament of Trees.  Holland was given two converse philosophies to consider when preparing for the battle. The Lady Weed would have him believe that only show of strength and brutality would suffice to remain Avatar.  His immediate predecessor, an artificially created Swamp Thing that thought it was human, gave him ironically the most human answer that resonated with his core beliefs which is that he can do as he likes and let his conscience dictate his actions. Going into the fight Seeder tries all manner of tricks to beat Holland, such as poisoning everything green around them and sending Holland to the Moon where nothing can grow. But Holland continuously beats him almost effortlessly in a very Zen manner, proving his mastery and complete oneness with the Green. It is when he stands in victory over Woodrue that he falters. The Green wishes for him to murder Woodrue, as this is the only way to assert that he has the strength to be the Avatar. Following the Blue Swamp Thing’s advice, he refuses to kill Woodrue and in doing so loses the battle and is retired by the Parliament. Woodrue is made the new Avatar. Charles Soule has written the series to this point masterfully and doesn’t disappoint with this issue. In Scott Snyder’s run of the book the threat was always external and Holland’s advetures were aimed at threats from without to destroy the Green and imperil the world. Soule takes the converse approach and deals with Holland having to conquer the threats within; his own inner demons and the inherent evil within the Green. The three forces of nature introduced in the first run of Swamp Thing, the Green, Red, and Black all represent primeval forces. Green plants, red blooded animals, and the black of decay and death. Though Rot, the Black, was made into the evil force of the “Rotworld” storyline, it in and of itself was not bad, its avatar was. Death is what gives rise to life and allows the world to cycle through seasons. On that same note, plants and animals represent life, but when unchecked can be equally as damaging. There has to remain a balance and to do that all three must be kept in check. The Green is no exception and Alec fighting his masters in the Parliament proves that Soule gets the bedrock concepts of this new Swamp Thing mythos in the New DCU. His future issues promise to be nothing short of stellar.
  • Batman: Black & White #3 brings forward five really amazing stories about the Dark Knight from industry legends and rising stars of the comic book world.  Kicking it off is “Rule Number One” a story written and drawn by Lee Bermejo that is actually about Dick Grayson rather than Batman.  Batman is the lifeblood of the story, giving it consequence, but what Bermejo does is show Grayson’s inauguration into the vigilante life, on his own, with the Batman as his measuring stick.  He is dispatched to score some drugs in order to break a local narcotics operation.  The entire time he is weighed down by the rules imposed on him by Batman.  Batman isn’t just a cape, cowl, and animal motif.  He’s a code of honor and a set of principles.  A heavy burden lays on anyone who attempts to follow the steep path paved by the Batman.  Next comes a really poignant yarn written by Marv Wolfman and drawn by Riccardo Burchielli entitled “An Innocent Man.”  On the night before he is scheduled to be executed a prisoner asks Batman to prove his innocence.  Batman does it despite the fact that everyone says he should let the guy fry.  Batman exonerates him despite his own misgivings and lo and behold the prisoner is the Joker and by proving his innocence he thereby helps set a precedent that bars psychotic killers like the Joker from capital punishment.  “Namtab: Babel Comes to Gotham” is written and drawn by Rian Hughes.  Its story deals with a very wacky, out-of-the-box plot where linguistics and the concrete reality of things are warped by their perceptions.  The hallmarks of the issue harken to the tail end of the Silver Age of comics, which Hughes furthers by resurrecting an intergalactic detective name Tal-Dar, last seen in Detective Comics #282 and Batman #142 from the early 60’s.  Finally, the story “Role Models” written by Paul Dini and drawn by Stéphane Roux tells the tale of young girl abducted by a psychotic named ‘Playground.’  The girl, Jennifer, is lured by the kidnapper who tells her that he knows Batgirl.  Jennifer is a huge fan of Batgirl.  When she escapes she combs the streets looking for one of the heroes that patrol Gotham.  She ends up running into Harley Quinn and Poison Ivy in the process of pulling a bank job. They try to get her to take a hike until Playground shows up at which point they come to her defense and beat him to a pulp.  Batman steps in and the question arises as to whether Poison Ivy and Harley Quinn are villains or heroes.  Cautionary tales or “Role Models.”  Overall these stories are well rendered, well conceived, and thoroughly entertaining.



  • Trillium #4 continues Jeff Lemire’s incredible limited series which he’s dubbed “the last romance.”  After reuniting Nika Temsmith with William Pike in the year 1921 writer Jeff Lemire throws a curve ball by tossing William’s brother, Clayton, into the year 3797 and the hands of the insane Commander Pohl.  After witnessing some very bizarre events Pohl makes the unilateral decision to destroy the temple that acts as a conduit between 20th century Earth and 38th century Atabith.  This issue has a few major revelations, but mostly dwells on situational events that establish ambiance above all else.  The major notes of the story are Nika and William attempting to figure out the strange nature of the temple and its ability to traverse both time and space, Pohl viciously interrogating Clayton, the Human colonists on Atabith forcefully harvesting the Atabithi people’s trillium fields which the latter depend upon for existence, and her destruction of the temple.  With its destruction the story seemingly concludes and I had to do a double take afterward to make sure that the series wasn’t in fact ending.  There doesn’t appear to be any logical way for the story to continue with the blocking of travel between past and future, but Jeff Lemire is a masterful storyteller and his solution promises to be one worth waiting for next month.  Lemire’s unique style of art is also something to anticipate.  It is unlike most styles seen in comics past and present and provides an incredible draw to the reader with its novelty and fresh appearance.  Trillium is a series of the highest caliber and an insurance that Vertigo Comics remains a name in comic innovation. 

    What Hath Man Wrought?

    What Hath Man Wrought?

So begins the November month of comics with great style and skill.  Let’s hope that the rest of the month measures up to this week’s excellence.

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

Illustration Credits:

Forever Evil #3: Drawn by David Finch, Colored by Sonia Oback, Inked by Richard Friend.

Action Comics #25: Art by Aaron Kuder, Colored by Arif Prianto.

Detective Comics #25: Art by Jason Fabok, Colored by Tomeu Morey.

Green Arrow #25: Art by Andrea Sorrentino, Colored by Marcelo Maiolo.

Green Lantern  #25: Drawn by Billy Tan, Colored by Alex Sinclair & Tony Avina, Inked by Rob Hunter.

Earth 2 #17: Drawn by Nicola Scott, Colored by Pete Pantazis, Inked by Trevor Scott.

Batman: Black & White  #3: Art by Stéphane Roux.

Trillium #3: Art by Jeff Lemire, Colored by Jeff Lemire & Jose Villarrubia.

Oct. 2, 2013

Villains Month is over and October ushers in a return to the deferred storylines of August.  Right out of the starting gate there are some fantastic issues that prove the power and momentum that DC and Vertigo have built over the past several months.  Forever Evil, Action Comics, Detective Comics, Green Arrow, Green Lantern, Batman: Black & White, and Trillium really bring it this month in action, intrigue, and history altering glory.

  • Forever Evil #2 continues with our Earth’s decent into chaos as the Crime Syndicate of America from Earth-3 take it for their own.  In the literal shadow of their advent, our world’s darkest minds flock to them in droves to get what bounty the CSA will grant them in return for their service–Malum Aeturnus–and those few heroes left alive rally to meet the Syndicate in battle.  The most intriguing case between these two camps is perhaps the most dangerous man from Earth-1: Lex Luthor.  Opening this issue, Lex delivers a very thought-provoking interpretation of Darwinism that sets him apart from both the opportunistic villains and “cowardly” masses that accept drastic change idly.  In this way he either proves his mettle as humanity’s savior, filling the position he begrudged Superman for occupying these past several years, or simply demonstrating his intractable individualism and anyone that tries to cast their shadow on him.  In this case, the shadow cast is both literal and metaphorical.  As ever, you want to hate him until he does something very noble, at which point you then want to love him until he come full circle to being despicable yet again.  Either way, his goals in toppling the CSA from their haughty perch and prying their hegemonic grip from humanity’s throats forces him into the role of protagonist.  His competition is getting slimmer and slimmer as Forever Evil progresses and heroes fall left and right.  Between Justice League #23 and Forever Evil #1, the Crime Syndicate dropped the entire Justice League, and seemingly the Justice League Dark and JLA, leaving Earth without their greatest heroes.  Next, in the opening movements of Forever Evil #1 the first protegé of Batman and most senior surviving hero, Nightwing, is subdued and captured by Owlman.  After that the Teen Titans, basically the junior Justice League, step up to the plate only to fall to the wayside.  I won’t spoil the surprise, but they too fall short of matching the Syndicate’s mettle, and really are defeated by only one member of the evil cabal, leaving Luthor as one of the top contenders to take down the Earth-3 invaders.  However, in the periphery other “villains” from Villains Month are stepping up, showing their innate humanity or their inability to be cowed by the whims of others.  Black Adam rises in Kahndaq and the Rogues have the Syndicate’s forces in Central City on their heels, so on at least three fronts there is hope.  However, the real threat to the Syndicate, made very clear in this issue is themselves.  As ever, Ultraman (evil Superman) has to be the biggest, baddest guy on the block and lords his perfection over the others, Owlman (evil Batman) schemes in the shadows and secretly cuckolds the Earth-3 Krpytonian by sleeping with his wife, Superwoman (evil Wonder Woman).  Johnny Quick (evil Flash) and his lover, Atomica (evil female Atom), are uncontrollable forces of destruction that do not play by anyone’s rules, least of all Ultraman.  Power Ring (soooort of evil Green Lantern) is perhaps the greatest question mark as he is a terrified weakling that so far hasn’t done anything and doesn’t want to.  In any event, the evil Justice League of Earth-3 are the greatest threat to themselves, with conflicting plans for our world, conflicting philosophies in general, and outright vendettas against each other.  With the end of this issue there are some crazy reveals that beg for the third installment and keep the reader on their toes.  First and foremost, David Finch’s art is superb and his harsh lines belie the evil nature of the subject material.  But beneath the very heavily inked lines there is a subtle, gentleness and beauty that shines through.  He was the best choice to render this script visually.  I have been very antagonistic of Geoff Johns’ writing since he began the New DCU two years ago and mismanaged title after title that he has written, such as Justice League, it’s SHAZAM! backup feature, and a few others I won’t pontificate upon.  However, this series gets back to what he does well: villains.  Sinestro, the Rogues in The Flash, Black Adam in 52.  These are all characters that were two-dimensional at best that he made into complex, compelling antiheroes.  This series features the concept of eternal darkness and absolute evil and shows by contrast the natures of the DCU’s villains.  Many pale in comparison, and like Lex, show signs of valor despite their many, usually glaring flaws.  Forever Evil is marketed as the first imprint wide event and it deserves to be.  This is a title that will live on and in some ways validate the atrociously wretched job Johns did on the first arcs of Justice League.

    They Did a Bad, Bad Thing . . .

    They Did a Bad, Bad Thing . . .

  • Action Comics #24 picks up the second part of the “Psi War” storyline after the events of Superman Annual #2 and Superman #23.  So far, it has been revealed that Brainiac left some hidden mementos when he attacked Metropolis in Action Comics #1-7.  After abducting a segment of the city and shriniking it, he altered twenty people within, who became an urban legend aptly called, “The Twenty.”  The Twenty were mentally enhanced to test the augmentation of humans to fit a very specific purpose: providing physical hosts for the digitized “souls” of Brainiac’s extinct race, the Coluans.  In the aftermath, Lois Lane is transformed by one of the Twenty into such a vessel shortly before being launched out a window and put into a coma.  From there we were introduced to the “Queen,” a nubile blond bombshell that bathes in a golden liquid, seemingly generated by the psychic drones in the H.I.V.E.  One such drone, the escaped Dr. Psycho, was first seen in Superboy.  Also from Superboy is the reinterpreted, reintroduced character, Psycho Pirate.  In the past, Psycho Pirate was a masked man whose bizarre harlequin mask gives him the ability to exploit people’s emotions.  This time around the mask he wears is an artifact called the Medusa mask, which true to the imagery its name elicits has numerous psychically generated snakes coming off of it.  The mask allows this man, also a member of the Twenty, to control not just the emotions but also enter the mind of any person on the planet he wishes.  At the end of Superman #23 it is the Psycho Pirate that rescues Superman from the Queen and the massively disproportioned Green Lantern villain, Hector Hammond.  He takes Supes into the main chamber of the H.I.V.E. to show him the collection of psionic slaves the Queen called her “Swarm.”  The Swarm was what she was going to use to enslave humanity for the second coming of Brainiac.  Psycho Pirate was one of those slaves, kept in a place of honor with several other members of the Twenty.  It is his goal to free all of them, but to break the hold the departed Queen has on them Psycho Pirate needs more power than he and the mask he wears allow him.  That is where Superman comes in.  Superman’s enhanced biology also allows his mind enhanced psionic output, even though the Man of Steel doesn’t know how to utilize it.  He’d help out the Psycho Pirate if he asked, but of course that would be too easy.  Instead Psycho Pirated lives up to his name and takes what he needs by force.  The psionic snakes from the mask bite into Superman at various points on his body like asps and inject him with venomous visions of some of Superman’s darkest fears: humanity turning fully against him, his adoptive parents the Kents despising him, and never leaving his dying homeworld of Krypton.  Through these intense visions and horrifying sights Psycho Pirate feeds off his emotions, as his former self, pre-Reboot, used to.  Though Scott Lobdell is given cover credit, it is actually Mike Johnson, who also wrote Superman #23 (“Psi War” Part 1), who did the honors on this one.  It’s hard to say whether “Psi-War” is Lobdell’s “brain child” (pun intended) or Johnson’s, considering that Johnson has written the only two official installments with no internal credits or nods to Lobdell, but Lobdell wrote the prelude in Superman Annual #2, so . . .  Either way, the writing and set up are stellar, as is the artwork depicting it, rendered by Tyler Kirkham and Jesus Merino.  Superman had a ROUGH start at the beginning of the New 52 with some atrocious storytelling, but Action Comics, Superman, Superboy, and Supergirl are all top-notch titles at present.  This issue encapsulates all of that incredible innovation perfectly.

    All the Queen's Men

    All the Queen’s Men

  • Detective Comics #24 concludes the “Wrath” storyline begun three months ago, but held up by Villains Month.  Beginning with a slimy business mogul named E.D. Caldwell attempting to buy out Wayne Enterprises, Bruce Wayne has to contend with that situation leaving Batman to deal with a hi-tech cop killer called “Wrath” who bears a likeness, albeit greatly intensified and armored, to Batman. Of course, these two antagonists in Batman’s life are one and the same and Caldwell wants to gain WayneTech weaponry to add to his arsenal in his crusade against the Gotham City Police Department.  This concept, it turns out, is actually a redux of a character first created in the 80’s by Mike Barr and resurrected in 2008 by Tony Bedard.  The character’s name was Elliot Caldwell and his parents were gunned down by Gotham cops leaving him with a burning rage for Gotham’s finest.  In this way, the mirror-darkly image of Batman called Wrath provides a polar opposite version of the Dark Knight.  Batman does have many nemeses that are opposite to him in some way, the Joker’s manic escapades being the most obvious.  However, Wrath is literally the flip version of Batman’s birth.  Young Bruce Wayne’s parents were gunned down by a criminal named Joe Chill and through the trauma that event evoked in his young mind he was set on an inescapable course to punish criminals and stamp out criminality.  Caldwell saw his parents gunned down by police at an equally young age as Bruce and as a result he grew up with a festering hatred for police and law enforcement, constantly seeking vengeance to assuage that child’s anger.  In this issue Layman makes the cops that killed Caldwell’s father corrupt and the slaying of his father unjustified.  In this way, he isn’t just a straight psychopath, but a boy with real, valid grievances that are twisted by “Unbridled Wrath,” which also happens to be the title of this issue.  Though he is subdued in this final issue of the arc, the damage incurred during his rampage is considerable and his defeat gives fodder to future villainy with his introduction at the end to another up and coming Gotham mega-villain.  John Layman and Jason Fabok knock this issue out of the park with some intense storytelling that is both powerful and resonating.
  • Green Lantern #24 begins the MASSIVE “Lights Out” storyline, not to be confused with the “Blackout” storyline coming up in Batman and throughout several DC titles.  Though the character Relic has only been in comics five months, he has already cemented himself as one of the most titanic characters in the Green Lantern mythos.  He first appeared in the tail end of June’s Green Lantern: New Guardians #21 and from there crusaded against White Lantern Kyle Rayner, Star Sapphire Carol Ferris, and the newly emancipated Templar Guardians under the auspices of “saving the universe,” though failing to elaborate on that point.  So great was his belief in his righteous cause, he went to the new homeworld of the Blue Lantern Corps, Elpis, and laid waste to it, the Blue Lantern Central Power Battery, and the Corps itself, leaving Saint Walker the last surviving Blue Lantern.  Representing Hope, the Blue Lanterns have had their faith pushed the breaking point.  First the Reach destroyed their original home on Odym, forcing an exodus to Elpis.  Now the seemingly unstoppable Relic has destroyed their new world and them.  Their hope is undiminished to the end as they give their unconscious chief Lantern, Walker, to Kyle and Carol and stay behind on their world to hold off Relic as long as they can and sacrifice their lives to maintain . . . Hope.  As stated, Relic was very terse about his motivations throughout his initial interactions in our universe.  With his appearance in Green Lantern #23.1 we get his entire history and a clearer picture of his motivations.  When living in the universe that preceded the Big Bang and the creation of our current universe Relic was a scientist whose brilliance and council helped the “lightsmiths” co-exist and govern that universe.  There was always tension between the various lights and he worked to keep the peace, but also came to realize that the light they so wantonly used was a finite resource, the depletion of which would result in a cataclysm of untold proportions.  His words went unheeded and indeed the universe collapsed in on itself and was forced to begin anew with the advent of our universe.  He somehow was protected in the anomaly from which he emerged in Green Lantern: New Guardians #21 and upon emerging realized that he would need to stop the “lightsmiths” of this universe to prevent history from repeating itself.  Being that he was shunned in his universe, he eschews the possibility of explaining his actions to the new light-wielders and merely enacts his plans.  He destroyed the Blue Lanterns.  With this issue of Green Lantern he descends on Oa and the Green Lantern Corps.  The fight proves to be just as futile as that which the Blue Lanterns provided.  The question of defeating Relic isn’t even posed, but rather asking whether the Green Lanterns can survive him.  Robert Venditti seems to be the architect of this “Lights Out” concept and considering the material that he had to follow after Geoff Johns’ blowout finale of a legendary eight year run, he is really bringing his A-game to the table.  This is perhaps the biggest thing that has EVER occurred in the Green Lantern titles, even bigger than Johns’ “Wrath of the First Lantern” storyline, which itself was unprecedented in scale.  Billy Tan’s artwork keeps pace with the monumental events chronicled within, emoting the tragic wonder and epic grandeur of all that is happening in the Green Lantern universe.  They promoted this event by saying, “Nothing will ever be the same again!  Trust us: WE MEAN IT!”  That trust is earned with the unbelievable events of the last two pages of this issue.  If you are a Green Lantern fan, READ THEM!

    An "Earth" Shattering Developement . . .

    An “Earth” Shattering Developement . . .

  • Green Arrow #24 does not disappoint.  This issue picks up after  the September hiatus with Ollie Queen on his way home from Vlatava after saving the enigmatic Shado from Count Vertigo’s dungeon.  During that month off writer Jeff Lemire and artist Andrea Sorrentino used Villains Month to give a look into the past of Green Arrow’s newest nemesis.  With Vertigo’s past now revealed, Lemire sends Ollie and company back to Seattle only for them to run back into the path of the Eastern European dictator.  After their last encounter Vertigo’s distortion device ruptured GA’s inner ear, essentially throwing off his balance and his aim, taking a hero whose main skill is archery and invalidating it.  What is left?  Even his closest friends and allies are dubious as to whether he has anything viable left that could allow him victory over Vertigo.  This issue is written as though Ollie were a real person and Lemire his biographer.  Ollie is flawed and fallible, but has deep wellsprings upon which he draws in times like his current predicament that make him worthy of his own comic title. He may be an effete rich man, but he doesn’t solve his problems with money.  At least he doesn’t anymore, after DC put a competent writer on the title going onward from issue #17.  Lemire also writes the supporting cast of characters with equal complexity.  Shado is a prime example in this issue.  Previously, she has always been depicted as a very veiled, Zen warrior embodying eastern philosophy, the feminine mystique, and complete oneness with the martial arts.  In short, she is a fox-like character that is always a step ahead of Ollie and most other characters and rarely caught off guard.  This issue continues that depiction to a point, but stresses that she is an acolyte of the Arrow clan, meaning a master of archery.  Lemire has set up a group called the Outsiders (not the previous Batman created group pre-Reboot) that are comprised of heirs to the various disciplines: arrow, sword, axe, spear, fist.  Shado is an unparalleled archer.  When she comes up against a true practitioner of the Fist (also a rebooted character from DC’s past) she is shown to lack true mastery of the other disciplines and is revealed to be human and have very real weaknesses.  It’s the humanizing aspect of his storylines as well as the mythologies that spring from them that make this series soar.  One thing also that separates this title from others is the way it adhere’s to the surrounding climate of the DCU.  Villains Month was enjoyable, but a total ratings stunt to sell more issues and get people excited about buying comics they normally wouldn’t.  The month-long PR event was jarring to most series, causing a MAJOR disruption in storytelling, but not for Green Arrow which took it and used it to seamlessly continue the title’s forward momentum.  Next month there is another imprint wide event called “Blackout” taking place around the “Batman: Year Zero” storyline in the Batman title where apparently there is a massive blackout in Gotham six years prior when Batman first dons his cowl and all the titles are going back and having “pre-hero” versions of their respective protagonists living their lives through this blackout and miraculously being in Gotham during it.  Again, jarring and implausible.  Before this issue’s end, Lemire has already set events up in such a way that you’d believe that Batman was having a “Blackout” event because of Green Arrow and not the other way around.  That’s talent!  In the realm of visuals, Andrea Sorrentino’s artwork was meant for a title like this and his Green Arrow is the only one I want to look at for the foreseeable future.

    A Battle of Two Dragons.

    A Battle of Two Dragons.

  • Batwing #24 depicts Luke Fox’s continued trials and tribulations while donning the Batwing armor.  It’s not just being Batwing that is difficult, but balancing that life with a full family life.  Bruce Wayne has a very detached life, allowing him great anonymity to fit his nocturnal lifestyle.  Luke is a part of a very loving, close-knit family and distancing himself from his family when they are in need is not an option.  Following his father, Lucius Fox’s kidnapping and his subsequent rescue, Luke finds himself torn three ways.   Batman and his allegiance to the Batname force Luke to follow-up on the assassin Lady Vic, sent by an enigmatic client to off some “bats.”  His family need him close as they recover from mechanized assassins blowing up most of their home and abducting Lucius.  His former girlfriend Zena’s father passes away and needs his support as she copes with her loss.  A veritable labyrinth, but somehow in this issue Luke navigates it.  I am beginning to forgive this title for its abrupt about-face.  I maintain that it is complete nonsense to take the Batman of Africa and bring him back to the United States, and Gotham no less, where there are literally dozens of costumed vigilantes, and 75% of them in the Bat-family.  However, writers Jimmy Palmiotti and Justin Gray are doing interesting things with Luke, so for the time being I will hold back my indignation and acknowledge that this is a very well written Bat-title.
  • Earth 2 #16 reaches a fever pitch.  Writer James Robinson is only onboard for a few more issues and he is pushing his story to the limits.  The war between Steppenwolf and the World Army has begun and despite the size of their force, the World Army finds themselves on the losing side.  Steppenwolf almost singlehandedly defeats the brunt of the World Army invasion force.  On the sidelines the World Army “supers” (Atom Smasher, Red Arrow, and Sandman) meet with the independent wonders (Green Lantern, Flash, and Doctor Fate) on the outskirts of Dherain.  They initially fight it out until the three “Hunger Dogs” of Apokalips (Bedlam, Beguiler, and Bruutal) step in and wipe the floor with all of them.  When this issue returns attention to them, they awaken from this beat down bruised, but alive!  The question on all of their mind, “Why were they spared when they could have easily been killed and taken out of the game?”  There is no answer expressly given, but in the meantime they get back up and attempt to evacuate civilians from the war zone after the World Army officially calls a retreat.  Green Lantern goes to take out his rage on Steppenwolf and buy his friends some time.  Steppenwolf isn’t going to be taken down, or at least not by Alan Scott.  He SOUNDLY defeats the Green Lantern raising the question of whether Scott will survive this round like he did the last or if this is the end for Earth’s Green Guardian.  However, in his gloating of this day’s victory Steppenwolf DOES meet his end and the identity of the person who takes him down and the rationale behind it is what cements this issue as a MUST READ for the month and possibly the ENTIRE series!  James Robinson is riding the clock on this one, coming to his end of his run very quickly, and he is making every second count.  As ever, Nicola Scott’s artwork contributes mightily to the impact of this issue and the series thus far, on which she has been on from issue #1 and drawn the majority of issues with only a handful of exceptions.  This series definitely needs to be read through the end of Robinson’s run and possibly further.

    Superman's "Dark-Side."

    Superman’s “Dark-Side.”

  • Swamp Thing #24 returns Alec Holland, chosen Swamp Thing, back to his investigation into the identity of the man called “The Seeder.” Since Charles Soule has taken over the title he has focused on the divide between Holland’s humanity and his duty to the Green.  These two motivations tear him in two different directions, often causing existential crises which he must navigate very carefully.  The Seeder represents the greatest threat to that, because while his endeavors are altruistic, i.e. creating verdant oases in the middle of arid desert granting people an end to hunger, Swamp Thing must shut them down and rob those people of the life-giving means that are a godsend to them.  This seems callous, but the Green is a balance and such works throw that balance off.  If the Green is exploited in such a way, causing forests to grow in a desert, elsewhere a bed of seaweed that sustains an ecosystem will die or a grove of trees in the wetlands.  It is a very hard job, but Swamp Thing is forced to execute it to maintain harmony and balance, even at the cost of human lives and great suffering.  The Seeder comes forth and we find out that he is none other than Jason Woodrue, noted botanist and in previous DC continuities a sort of male Poison Ivy, who actually was the villainess’ mentor.  Here he was given his strange powers by the Parliament of Trees in exchanged for saving the life of Alec Holland, who was murdered by Anton Arcane, as seen in Swamp Thing #0.  He was not given full power over the Green, as Alec was, but a more rudimentary ability of manipulating seeds to do what he wished, hence his name.  Swamp Thing and the Parliament come together to put an end to his hijinks, but when he fights back against both, they see how powerful Woodrue has become, even without full mastery of the Green and decide to have a tournament between Woodrue and Holland to see who should be the Avatar of the Green.  Writer Charles Soule has taken this title into a new direction that is logical, but very much unique from Snyder’s run on the title.  This issue the regular artist, Kano, is replaced by Andrei Bressan, whose art I have always loved, but which takes a very new style here.  It might be that he has a different inker or colorist, but his art in this issue does conform to the themes and overall mood of the Swamp Thing title.  There is a little bit of Bernie Wrightson in the way Swamp Thing is rendered, paying homage to his origins and rooting the series deeply in the aspects of the character that are eternal.
  • Batman: Black & White #2 provides yet another round of truly excellent Batman stories rendered in stark black and white with plots that are anything but, from the writing and artistic talents of Dan Didio, J.G. Jones, Rafael Grandpa, Rafael Albuquerque, Jeff Lemire, Alex Nino, Michael Uslan, and Dave Bullock.  In Dan Didio and J.G. Jones’ story “Manbat Out of Hell” we have the narration of a child talking about how their father made them feel safe, making the monsters that lurked in the dark go away juxtaposed over images of Batman interceding as the Man-Bat, Kirk Langstrom, breaks into a second floor window of a foster home.  Batman fights the “villainous” werebat, pulling him off the man inside in front of two horrified children.  When his subduing of the creature is met with increased horror from the children Batman realizes that they are Langstrom’s kids and the man he “saved” was an abusive attendant that preyed upon those same children.  The narration was Langstroms children talking about their hero who protects them from monsters: their dad, Man-Bat.  Didio’s story is infinitely complex and touching, showing how appearances often belie reality and true virtue and villainy.  Rafael Grandpa’s story, “Into the Circle,” tells of the Joker setting up a heist with a motley crew of small time Gotham hoods on stately Wayne Manor.  Seemingly straightforward, Grandpa throws a major curveball in the final five panels.  His artwork is what truly electrifies the story, taking an understated, subtle plot and adding intrigue and enigma that tempts the reader from panel to panel.  His art is hard to categorize, but has a simultaneous harshness and gentility within the very same lines.  Simply fantastic.  Rafael Albuquerque’s story, “A Place In Between,” takes Batman into the underworld on the ferry ride through the River Styx.  As it progresses Batman is confronted with his greatest sins as he tries to cope with the reconciliation of his intentioned goals and the actuality of his past actions.  Spoiler Alert: He isn’t dead, nor is this real, but Albuquerque gives thoughtful perspective to the reader and the Dark Knight as to the “success” of Batman’s mission and what things weigh on his conscience.  Albuquerque’s inkwash illustrations are truly gorgeous to behold as you go on the ferry ride with the Caped Crusader.  Jeff Lemire and Alex Nino’s story “Winter’s End,” is an excellent companion to the Didio/Jones story, “Manbat Out of Hell,” becasue while in the former story the reader is tricked into thinking the narration of Langstrom’s daughter is Bruce talking about his dad as his hero.  “Winter’s End” is narrated by Bruce, talking about the last winter he spent with his father before the tragic events that severed them forever.  In his recollections he talks about how safe his father made him feel, despite how scared he should have been.  The narration is put over the current day adventure of Batman into the heart of a man-made blizzard by Mr. Freeze imperiling the life of Commissioner Gordon. The actual events of the story are so-so, but the backstory of Bruce’s childhood is what really impacts the reader.  The final tale of the Batman, Michael Uslan’s “Silent Knight . . . Unholy Knight,” is rendered visually by Dave Bullock as though it were a silent film.  In it a serial killer called the Silent Knight, dressed in medieval armor and wielding a sword attacks families of three just like Bruce’s in an attempt to call out the Dark Knight.  It works.  Uslan scripts the story exactly like a silent film with mostly pantomime panels that visually tell the story with only the occasional caption panel with barebones dictation to relate what cannot be conveyed visually.  Bullock’s artistic style mimics that of Darwyn Cooke and evokes the glory of the Golden Age Batman, really nailing the necessary ambiance of the original Batman.  Taken altogether, these stories paint a broad picture of who Batman is, what he represents, and the many things he embodies to a wide range of people throughout the world and over time.
    Conning the Conmen.

    Conning the Conmen.


    Golden Age Batman on the Silver Screen . . .

  • Trillium #3 returns to the flip book format of the first issue (sort of) and segments the two journeys of Dr. Nika Temsmith from 38th century and William Pike from 1921. Nika is drawn back into her time and quarantined after being “rescued” from the Atabithian village where she ate the trillium flower and passed through the pyramid emerging in our world a few years after WWI.  With the sentient virus, the Caul, entered into the solar system the human refugees have sought shelter in the vastness of space and the military have tabled Nika’s negotiations with the Atabithians in favor of raiding their villages and taking the trillium crops that could provide humanity with a vaccine the Caul cannot adapt to.  This would in essence destroy the Atabithian species, as they rely upon the trillium flowers for their own existence.  To save them and to save humanity, Nika must escape captivity by her own people to prevent more than one apocalypse.  Meanwhile, in our “recent” past William is rejoined by his brother, Clayton, after Nika goes back through the pyramid to her time.  Of course Clayton does not believe William’s stories and as a result attempts to blow a hole in the sealed entranceway of the Aztec temple to prove there is nothing strange behind it.  The confluence of events brings forth an ending that defies expectations and takes the imperativeness of the plot to unimaginable levels.  Writer/artist Jeff Lemire is a genius, and his visual storytelling compliments his written work perfectly.  The use of flipped pages to demarcate past from future can be jarring at times, but creates a much more believable experience demonstrating the strangeness of the tenuous link between the two disparate time periods.  This series is what the Vertigo imprint was founded to print.  Such a series is the quintessence of what Vertigo comics have been, currently are, and (God willing) shall be until the end of human civilization. Trillium-Teaser658
  • Hinterkind #1 is yet another debut in the new wave of Vertigo titles.  This series also has a post-apocalyptic feel to it.  Human civilization as it has been known has ceased and the planet has reclaimed its surface from us, like any landlord whose tenants have abused the leased property.  The urban jungles of New York are taken over by a literal jungle growing over the streets and buildings and creating new ecosystems where wild animals reign free.  In one of the beginning scenes, human survivors hunt a Zebra in lower Manhattan.  Humanity has developed isolated colonies throughout the country that are linked only by radio.  The opening scene shows the Albany colony falling to an unknown force.  Following this the doctor of the Manhattan settlement, Asa Monday, decides to make the two month trek to Albany to ascertain what happened.  Detroit, Chicago, and Minneapolis are revealed to have gone dark, just like Albany, making the fall of each all the more suspicious and worth investigating.  His niece, Prosper Monday (the huntress that killed the Zebra at the beginning) wishes to go with him, but is denied.  Upon finding out that her best friend, Angus, has grown a rat tail inexplicably the two depart the colony anyway to see what is going on in the wide world.  What they find are even more incredible wild beasts like Ligons (lion/tiger hybrids), but what’s more, mythical beasts such as ogres and giant gothed-out fairies.  Writer Ian Edginton says that in essence he wants to tell a post-apocalyptic fairytale that makes legends realistic and show that humanity isn’t the dominant species on this planet and maybe never was supposed to be.  The series continues the tradition of upholding  the promise of comics as an intelligent artistic and narrative medium.  Edginton has me hooked for at least another issue, if not many more down the road.
The Urban Jungle.
The Urban Jungle.
  • Vertigo Presents: The Witching Hour was perhaps the greatest disappointment from Vertigo in some time. In the past when they had done topic anthology books like Ghosts, Time Warp, Strange Adventures, etc, they have gotten innovative creators to come onboard and spin poignant, entertaining short stories.  Looking back on those previous books, I can bring to mind several stories that resonated deeply and blew the mind of those reading them.  Jeff Lemire’s story about the death of Rip Hunter wasn’t something that spoke to the nature of reality, but it was deeply moving as to the nature of the human nature.  Gail Simone wrote a fantastic short story about candy that could transport people to their most perfect moment and the sweet, but finite nature of memories.  Witching Hour has almost none of the aspects present in the previous Vertigo anthology books.  Whereas before, there were well-known comic writers and artists producing stories, or indy creators bringing their A-game, this collection features stories from mostly indy writers that are topical at best and convoluted at the worst.  There isn’t even an adherence to a theme.  Ghosts featured stories about . . . ghosts.  Time Warp wasn’t strictly about time-travel but also the concept of the passing of time.  Strange Adventures dealt with space travel and human exploration in the final frontier.  Witching Hour begins with some stories about witches, but then there are stories about a mission to Mars and a woman with a parasitic spider in her brain.  What?!  Vertigo is slipping a little . . .

So ends the first week of October and the first in four weeks of resumed storylines in the regular continuities.  I will miss the fun Villains issues, but it’s also nice to have old “friends” back with the resuming of continuing plot arcs.  Can’t wait for next week’s batch which include the oversized issue of Batman #24 by Scott Snyder and Greg Capullo.  It promises to be good.  See you then . . .

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

Illustration Credits:

Forever Evil #2: Drawn by David Finch, Colored by Sonia Oback, Inked by Richard Friend.

Action Comics #24: Art by Tyler Kirkham & Jesus Merino, Colored by Arif Prianto.

Green Lantern  #24: Drawn by Billy Tan, Colored by Alex Sinclair, Inked by Rob Hunter.

Green Arrow #24: Art by Andrea Sorrentino, Colored by Marcelo Maiolo.

Earth 2 #16: Drawn by Nicola Scott, Colored by Pete Pantazis, Inked by Trevor Scott.

Batman: Black & White  #2: Art by Rafael Grandpa & Dave Bullock.

Trillium #3: Art by Jeff Lemire, Colored by Jeff Lemire & Jose Villarrubia.

Hinterkind #1: Art by Francesco Trifogli, Colored by Cris Peters.

Sept. 18, 2013

In this third week of Villains Month quite a few big names get their spotlight in individual issues:  Lex Luthor, Black Hand, Ra’s al Ghul, Penguin, and the new kid on the block whose made his meteoric mark across all four Super-titles, H’el.  This should be good.

  • Action Comics #23.3: Lex Luthor presents a very comprehensive vision of Lex Luthor, depicting events between his emancipation from the Hypermax Prison (which he himself designed for himself) and the opening moment of Forever Evil #1.  The issue begins with a very iconic image that sets a comparison between Lex and his arch-rival, Superman.  It is split down the middle with the left half bearing Lex ripping open his orange prison jumpsuit to reveal a white undershirt and the right showing him donning his pristine business suit.  Whereas the imagery borrowed from Superman has him ripping open his suit to show his heroic costume and nature, or straightening his tie to hide his identity and resume anonymity, Lex’s duality portrays the exact opposite.  Ripping off his prison oranges he is prematurely exiting his punitive captivity through backroom dealing and corruption showing the ignominy of his nature, and putting on his suit he prepares to enter the limelight, not stray from it.  The issue then continues to show his paranoid narcissism, malice, and lack of humility   Luthor’s first thought when he is clear of the prison is, “Where is Superman?”  The point being, “Why isn’t the Man of Steel here to see me leave the prison? Obviously I am the most important thing in his life, so why isn’t he here?” From there Luthor goes about ruining a fellow businessman’s life for sport and animalistic territoriality, while also staging an elaborate test to draw out the Man of Steel, if in fact he is still on Earth or close enough to take notice of the goings on that Luthor has set into action.  He has the best plastic surgeons on the planet remove the massive scars Superman burned into the left half of his face when he put Luthor into Hypermax.  And then when the massive calamity he engineered reaches its apogee, he stands at a crossroad of action: Step in and save the day, stealing Superman’s thunder or hold back and let events unfold leaving Superman to blame for not intervening.  Both are appealing choices for Luthor, but his choice and the inevitable monologue that comes with it in explanation underscore just how cunning and brilliant he is, and how multi-tiered his machinations are when all elements are stacked one atop the other.  Charles Soule writes the character keenly with all the guile and artifice requisite for this pillar of DC canon, balancing the many aspects we’ve come to expect from the greatest criminal mind on the planet.  Ray Bermudez provides art on the issue, and even if everything else is thrown out, his renderings of Lex make the issue soar.  Throughout the issue Luthor exhibits many different emotions: disgust, condescension, anger, frustration, smug success, thoughtful introspection.  Bermudez depicts each on the bald headed megalomaniac with masterful skill.  How this rendition of Lex will figure into Forever Evil, we will just have to see, but it’s truly something exciting to ponder.

    You'll believe a man can walk . . .

    You’ll Believe a Man Can Walk . . .

  • Green Lantern #23.3: Black Hand is the second issue penned by Charles Soule that came out this week and the less impressive of his works, unfortunately.  His writing of it is good, but the material given him was a little sparse.  Black Hand figured prominently into Blackest Night, of course, and from there he played his part in the “Secret Origin of the Indigo Tribe”, and later the “Wrath of the First Lantern” where he seemingly was locked away in the Dead Zone. However, as the issue begins his black ring makes it to Earth, deus ex machina, falling into the ash piles behind his families’ mortuary where the unclaimed bodies of the crematorium are dumped.  Through this is he able to regain a body, but not memory.  Slowly as he walks the Earth and feeds upon death he regains his mind and his power.  Once his memories reassert themselves, so too do his old enmities leading him to a revenge he has sought for some time, but never had the chance to enact.  That revenge come with the visiting of a very special grave and the resurrection and desecration of a body that is sacrosanct to his greatest foe.  There are good ideas written about in this issue, but the presentation of them is drawn through a drawn out plot that is filled in which cheap zombie theatrics that play off the Walking Dead hysteria.  What I loved about Blackest Night was that it didn’t play to cheap zombie fetishes as Marvel Zombie was wont to do.  The undead were utilized in thoughtful, provocative ways that were chilling and manipulative to those whose loved ones were brought back.  This issue was just cheap, unintelligible masses of reanimated corpses mindlessly causing havoc.  Granted this is a single 24 page issue so there wasn’t a lot that Soule could do, but I also feel like his hands were tied by restrictions from doing something worthwhile placed upon him by editorial, as it may have stepped on Geoff Johns’ toes.  Merely a theory.  I will say that the use of dead bacteria in a policeman who was recently vaccinated to kill said officer was quite interesting.  Considering the massive undead quotient in this issue, the use of former Frankenstein: Agent of S.H.A.D.E. artist Alberto Ponticelli was quite apt.  His depictions of both black hand and the ambling dead are ghastly, really setting the morbid mood.
  • Superman #23.3: H’el is the much awaited follow up to Scott Lobdell’s “H’el on Earth” storyline in which the eponymous villain attempts to save his destroyed planet of Krypton by converting all matter in our solar system (including Earth) into energy to power a chronal incursion into the past so that himself, Superman, and Supergirl could prevent the sequence of events leading to Krypton’s doom.  His plan is thwarted, and yet somehow at the end of the final issue of that arc, H’el is transported back to Krypton around the time he wished.  In this issue, writer Scott Lobdell picks up right where he left off with the help of artist (and Lobdell’s authorial predecessor on the Superman title) Dan Jurgens.  H’el is in a coma and with no name, severe scarring and mutilation throughout his body from the rigors of untested space travel, and a giant shard of kryptonite in his chest that would kill the average Kryptonian, he proves to be quite the scientific enigma. Such a riddle calls for the appropriate mind, and Krypton’s answer is the young, up-and-coming Jor-El.  Like Sherlock Holmes, Jor-El is able to deduce almost everything there is to know about H’el from his condition, including that he is Kryptonian, had recently been in outer space despite the fact that no spaceship or wreckage was found anywhere on Krypton, and that he also had to have come from the future.  His cunning in deducing the improbably with such clarity of mind is mind-boggling.  H’el, though unconscious, is aware of what is going on via astral projection of his psyche in an externalized form, owing to heightened mental capacities endowed by the previous events from “H’el on Earth.”  It is through this that he is granted the TRUE revelation as to his origin, his history, and the lie that led him on his genocidal bid to resurrect his race at the cost of the human race and any others existing in our solar system.  He even comes to learn the meaning of his name, “H’el.”  This issue is so visceral if the reader took the whole journey of “H’el on Earth” and saw the man H’el was throughout that series.  His passion and his goal of resurrecting Krypton came from a wellspring of love for his people that completely cut his psyche off from acknowledging any other lifeforms’ significance in the universe in comparison.  Now we see a complete diametric flip.  Like flipping a light switch that turns light to utter darkness and vice-verse, we see the flipping of a switch with H’el following his apocalyptic moment of remembrance transforming him from savior into destroyer.  All this leads directly to October’s Action Comics Annual #2.  Lobdell hits this one out of the park.  He has become the quintessential architect of the New 52 Krypton and this issue is a keystone in that foundation.

    H'El is Born

    H’El is Born

  • Swamp Thing #23.1: Arcane presents the third and last of Charles Soule’s issues to come out this week.  This time he takes on the villainous lord of the Rot who was last seen in Scott Snyder’s final issue of Swamp Thing, after which Soule took control of the title.  Though Snyder put him into exile and Soule left him there in the three issues of Swamp Thing he has written so far, now he is granted the chance to look back and work his magic on Arcane himself and Arcane’s lovely yet deadly (pun intended) niece, Abigail.  Firstly, Soule depicts masterfully the kind of purgatory that would most amply punish a man like Anton Arcane, former avatar of the Black.  A man who thrives on death and decay is consigned to forever green fields with flowers, trees, babbling brooks, and small adorable creatures such as rabbits poking about.  No matter what he tries, nothing dies and nothing decays.  Life never stops.  Even his own self mutilations do not last.  When Abby, bearing the mantle and powers of avatar of the Rot, comes to him in glory she asks that he tell her about what happened to her mother.  In his story we learn the origin of his birth, the advent of his connection to the forced of death and decay, and how he came to defile through perverse affection the body of Ilse Arcane.  However, despite the profanity of his deeds, there is a dark twist to the true end of Abigail’s mother.  Soule may not have written or engineered the current iteration of Arcane or Abigail, but he writes them both as though he had.  Jesus Saiz provides art on this issue providing soft beautiful lines when necessary and terrifying horrors the rest.
  • Batman & Robin #23.3: Ra’s al Ghul and the League of Assassins is another Villains Month issue written by James Tynion IV and drawn by Jeremy Haun, whose art was last seen in the Batman: Riddler issue one week ago. This issue differs from the Court of Owls issue in that the story presented of Ra’s al Ghul seems to be more of a means to an end than an actual story. It begins during the Fifth Crusade with a Teutonic prince entering a dark tower in the east to ferret out the fabled demon that lived within. Cut to the present another outsider, this one an unnamed representative of the Secret Society, comes to the dark tower with an offer of membership to join the Society and have a part in the reshaping of the world that is to come. Ra’s won’t even consider it until this Society lackey tells him more about why this is something that he would do. The narrative then goes through several stages of recounting his history and making a hodgepodge of versions from the past come together in a single back-story that will be his “official” history going forward. The origin as a vengeful husband and physician to a corrupt sultan as presented by Ra’s creator, Dennis O’Neil, is maintained. Next they factor in Ra’s involvement with the All-Caste and the Well of Sins, as written in Red Hood and the Outlaws by Scott Lobdell. Next Tynion sets the up a string of events throughout history that establish Ra’s as an architect of history through the engineering of calamities. Like in the film Batman Begins they have him being responsible for the Great Fire of London, as well as addicting the Chinese people to opium in the 1700’s, creating the cholera epidemic in New York in 1832, and orchestrating the assassination of Archduke Ferdinand. The final touch is bring in Talia’s failed Leviathan rebellion against her father for leadership of the League from Grant Morrison’s Batman Incorporated title, establishing the last major event to occur in recent days. With that out of the way, Tynion has the freedom to do with the character as he likes with all or most of the questions of who Ra’s al Ghul is answered. This issue has a lot of similarities with Tynion’s Court of Owls piece, delving heavily in flashback and anecdotal explanations of megalomania, but unlike it the Ra’s al Ghul issue feels very mechanical. The Court of Owls, while just as far reaching as Ra’s in the comics’ reality, is relatively young from the reader’s perspective, less than three years to Ra’s thirty years in comics, so while Tynion and Court creator Scott Snyder are still making things up as they go, Ra’s’s history is being cut and cobbled together from several different time periods from several disparate creative voices. The Court felt very smooth and homogeneous, because there are no preconceived notions surrounding that organization, owing to its fledgling nature, and contrarily the Ra’s al Ghul story suffers from many preconceived notions and the feeling that there is a great deal of shoehorning material into a small space to make a presentation that honors varying concepts from his past presentations. While interesting, it’s far from my favorite Villains Month issue.
  • Justice League Dark #23.3: Eclipso resurrects the evil shadow demon, reworking him in a similar manner to most of the better characters and concepts in the New 52.  His entrance to the New DCU was very erratic, coming piecemeal in several disparate titles such as All-Star Western, Team 7, Demon Knights, Catwoman, and Sword of Sorcery.  The lattermost title had Eclipso’s origin not dwelling in the Judeo-Christian inspired role of God’s first angel of vengeance, but rather as the unholy offspring of Houses Diamond and Onyx of Gemworld.  There his name was Lord Kaala. When he returns to the place of his birth from his exile in our world, he does so in the body of Alex Montez, his second host in DC canon.  This issue opens with Eclipso infiltrating the life of his primary host . . . sort of.  Originally Eclipso was bonded to Bruce Gordon, a scientist specializing in solar energy.  This time around writer Dan Didio maintains the character of the first host, while changing his name to Gordon Jacobs.  Purportedly, Bruce Gordon’s name came from a mash-up of Bruce Wayne and Commissioner Gordon.  The name is definitely a worthy change.  Whereas before Gordon was infected by a shaman on a remote South Pacific island wielding the black diamond, this time around he is a disgraced energy prodigy whose failed “Solar City” experiment cost him his reputation, his sanity, and the woman he loved.  This led to his obsession with finding the fabled black diamond whose properties he hypothesizes might aid in his research.  What it ends up doing is opening a dangerous door into unfathomable darkness.  Bruce Gordon was a decent man whose possession by Eclipso was a horrible accident.  Gordon Jacobs’ on the other hand was both premeditated and of his own choosing.  Through embarked upon by paying heed to honeyed words from an infernal entity’s lips, he is still the one who inflicted the wounds with the black diamond that set Eclipso free.  Whereas Bruce Gordon was an unfortunate innocent cursed by chance, Gordon Jacobs condemned himself in a devil’s pact.  Didio teams up with Philip Tan again, after the two worked on Phantom Stranger together several months ago.  Didio’s writing and Tan’s artwork combine to create very eerie storytelling that is worth looking into, especially considering the transient nature of this enigmatic villain who slips into titles where seemingly he has no place.  Yet there he is in 19th century Gotham, medieval Europe, an other dimensional gem world, Gotham of the 21st century, Hell, a prison in the middle of the ocean.  You never know when or where he will next appear, so it’s best to know thine enemy.


    The Many Lives of Eclipso

  • Justice League #23.3: Dial E is the biggest enigma of Villains Month.  I admit to not having read the final eight issues of the series, but even still the plot of this special issue was all over the place and hard to pin down.  The main character of the first thirteen issues, Nelson Jent, was completely absent in the story.  The other operator he met halfway through the first arc of the title, Manteu, also is absent.  The villains they encountered are absent.  There is a group of four teenaged kids, two girls and two boys, who get their hands on a dial.  The blonde girl, Gwen, who stole the dial, spins it and becomes a villainess called “Suffer Kate” with the power to make those around her choke for breath. The issue then unspools with the kids alternately turning into various versions of various schizophrenic conceptual characters.  Ironically, the only concept they didn’t use was the strange masked villainess that Brian Bolland drew on the corner throwing candy bars.  Nelson is also depicted on the cover, though not in the story.  The biggest draw to this issue is that every single page is done by a different artist, none of whom bear any stylistic resemblance to the others.  These artists include the likes of Matteus Santolouco, Jock, Jeff Lemire, Frazier Irving, Alberto Ponticello, and Dan Green.  It’s fun to look at, but not much fun to read unless you crave a heavy dose of insanity.


    Brian Bolland’s Amazing Cover Art

  • Batman #23.3: Penguin is a pretty straightforward Penguin story.  The Penguin is the ultimate abused psyche that climbed to power and influence with intelligence and hard work.  In this way he is admirable and someone worth emulating.  However, this issue also underscores the opposite and what Oswald Cobblepot lost on his way up to the top.  Penguin was always a man to be feared, but following the events of the “Emperor Penguin” storyline in Detective Comics that reputation has plummeted to next to nothing.  The issue opens up with that misconception illustrated very colorfully, that the Penguin is weak after his cockfight with his former protege, Oglivy.  This misconception proves to be fatal for those that thought it and the consequences bolstering his image as someone not to be trifled with.  It also draws attention of the wrong sort upon him by the governor himself who plans dramatic changes for Gotham to cut crime and make the city more wholesome.  Clearly this would cut into the Penguin’s pocket and cause him issues.  However, the twist comes in Penguin’s relationship to the governor, Carter Winston.  At school due to his freakish appearance, Oswald was bullied ruthlessly.  Handsome, rich, popular Carter was the only one who stood up for him without really having a reason to.  So the stage is set to see how these old school chums will sort out their affairs, what power and influence mean to those that have it and those that don’t, and what a reversal of fortune can mean to both.  Frank Tieri writes a very Machiavellian plot that really explores these very harsh principles that unfortunately govern human society, no matter the age.  Christian Duce provides art and like Bermudez’s work on this week’s Lex Luthor, Duce’s rendering of Penguin is all that matters in the issue.  Cut the rest out and his Penguin drawings will be worth the cover price.  The sinister, angular, sophisticated savagery that he imbues into the Gotham crime boss are stunning.  This issue was pretty darn good, and Penguin doesn’t even make my top ten list of Batman villains.  That says something.

    The Original Bird of Prey

    The Original Bird of Prey

  • Detective Comics #23.3: Scarecrow is a pretty round about issue that doesn’t really talk about the Scarecrow as a character, but more facilitated the coming limited series Forever Evil: Arkham War.  Before this, Scarecrow had been depicted as Secret Society stooge running around evangelizing DC villains left and right to the cause of the Crime  Syndicate.  This issue has Scarecrow running around, this time organizing the demarcation of Gotham into spheres of influence among the big names of Arkham: Mr. Freeze, Riddler, Poison Ivy, and seemingly Croc. In this way the issue is interesting in its scope, but not in its relevance to Scarecrow.  It does bear mentioning that Gregg Hurwitz’s origin of Scarecrow in his first arc on Batman: The Dark Knight could hardly be improved any, so the lack of elaboration here isn’t surprising.  Peter Tomasi writes the actual issue pretty well, despite it’s unorthodox story structure.  Artist Szymon Kudranksi provides the eerie art to coincide with the haunting subject.
  • Batman: The Dark Knight #23.3: Clayface was one of the worst issues I have read in some time.  Clayface is a character I don’t care about.  Occasionally he is done well, as in the Batman: The Animated Series cartoon or in the few instances that Scott Snyder has used him. Gregg Hurwitz’s usage has only been so-so in the current run of Batman: The Dark Knight.  Despite not liking the character, I bought this issue with those past examples in mind and because John Layman, whose run on Detective Comics I feel is one of the best ever, was writing it.  Bad idea.  The whole premise of the comic is Clayface is a loser that won’t amount to anything. He was a loser as an actor and so he became Clayface (which Layman didn’t even provide a back-story on) only to continually get shortchanged, make dumb decisions that cheated him out of his paydays.  When the Secret Society shows up he waits for his call and it doesn’t com, seemingly because he’s a loser and not worth their time.  He attempts to do something to get their attention, only to get in their way and mess up an operation they were running under the radar, prompting him to be back in a bar with his proverbial tail between his legs.  Then he gets wind of a job and signs on for what inevitably will be another SNAFU from his inept personality.  Perhaps this is a pessimistic view and the moral is that no matter how rotten he messes up, he picks himself back up and tries again.  That’s a sunny outlook, but one that is predicated off the understanding of learning from one’s mistakes.  Clayface is depicted time and again doing the exact same things and falling into the exact same traps.  This precludes the “pick yourself up and try again” proverb and points to the “stupidity is doing the exact same thing and expecting a different outcome” adage.   This in no way dents my faith in John Layman as a writer, but it does unfortunately hurt my idea of Clayface as a character.
  • The Flash #23.3: The Rogues ranks up there among the issues put out during Villains Month that NEEDED to be told.  The Rogues are a cornerstone of the Flash title that holds the concept up and comprises a inextricable part of the overall mythos.  Separately Captain Cold, Mirror Master, Heatwave, Weather Wizard, Golden Glider, and the Trickster are decent characters, but together they combine to create a whole larger than the sum of its parts.  Together the Rogues form a sort of family that behaves much like any family does, acrimoniously sometimes, but often with love and respect for one another.  Since just before the Gorilla War was incited by Grodd, Lisa Snart (a.k.a Golden Glider) had taken over leading the Rogues from her older brother, Leonard Snart (a.k.a Captain Cold).  Cold wasn’t so keen on the idea, but the Rogues voted and so it was.  The issue opens with Lisa leading the Rogues on a bank heist into a vault through subterranean tunneling after hours.  The job is aborted when the structures of surround buildings, both occupied at the time, are nearly compromised and the lives of those people are jeopardized.  It wasn’t a popular move, but the Rogues don’t kill innocent people.  It’s part of the code they live by.  Afterward, the strain of their situation catches up with them.  Jobs tend to keep the Rogues focused on forward motion, but during periods of lag the ghosts of their past catch up with them, namely the nature of their powers.  One of the interesting things co-writers Francis Manapul and Brian Buccellato did when they took over the Flash is convert the gadget equipped Rogues to super-powered villains, internalizing their abilities inside them, with no external sources, i.e. Cold’s freeze guns, or Heatwave’s flamethrowers, Weather Wizard’s weather wand, etc.  Their bodies now generate their respective powers autonomously.  When Captain Cold initiated this through the use of a device called a “genome recoder” he unleashed nightmarish results on his teammates in varying degrees.  Heatwave is a walking burn victim, scarred from stem to stern, Mirror Master is trapped perpetually in his Mirror World, and worst of all Lisa is in a coma that she can’t be awoken from and is only able to exist as the Golden Glider by astral projection.  It is because of this that Cold isn’t as well liked at the moment by the other Rogues and why he maintains the icy disposition that he does.  Taking responsibility for ruining your family’s lives is a hard pill to swallow.  Writer Brian Buccellato does a masterful job of really making you feel the pain of each Rogue in accepting their fate and the consequences that lie in trying to change that fate.  As stated before, the Rogues have a code they live by, so though they are villains and aptly deserve their place among the panoply of DC baddies that are getting their own issues this month, the Rogues are far from evil and it is that anti-heroic nature that sets them apart from most of their fellows.  At issue’s conclusion, the family of Rogues, after a healthy, cathartic shouting match come together as a family and make a stand.  The conclusion of the issue prompts its continuance in a series entitled Forever Evil: Rogues Rebellion.  Thus stated, in the absence of heroes, as with the Gorilla War, the Rogues are stepping up to the plate and doing what they do best . . . spitting in the face of anyone who dares try to tell them what to do.

    Honor Among Rogues

    Honor Among Rogues

  • Teen Titans #23.2: Deathstroke was another issue that only dealt topically with the subject and gave a cliffsnotes version rather than a cohesive story.  The plot jumped around like a dog with fleas.  First it’s at one point in Deathstroke’s life, then on the next page it jumps to a few minutes later, fine.  But then it jumps back twenty years, then to an unrelated point in his life ten years later, then ten years later than that, then the present, then the birth of his son, then he’s home with his daughter.  Trying to keep up makes the reader wish for a Dramamine.
    It’s clear that writers Dooma Wendschuh and Corey May are new to the comic writing gig.  I know that they are responsible for the writing of the video games “Assassins Creed” and “Batman: Arkham Origins,” but I think writing single issue comics is something they need time to acclimate to. They don’t have a ten hour game to exposes a plot over.  Moritat’s artwork is amazing, however, and truly makes the issue worth at least looking at.
  • Justice League of America #7.3: Shadow-Thief adds another new face to the New DCU. Although Shadow Thief isn’t a new villain, the woman portraying it is. The Shadow Thief was originally a man named Carl Sands who got his powers from a device called the dimensiometer and used his abilities for crime. This time around Shadow Thief is an Israeli intelligence operative named Aviva.  Right off the bat she foreshadows (pun intended) that working in her occupation can cause you to lose your soul.  Like General Zod last week, the Frederick Nietzche quote, “battle not with monsters lest ye become one,” is very apt. Her past paints her as paranoid, reactionary, and already a monster before she donned the black shadow skin that gives her the powers inherent to it.  As a Mossad agent she killed her superior officer to unilaterally launch  a missile strike that did neutralize enemy combatants . . . along with killing hundreds of innocent civilians.  She didn’t shed any tears.  This led her to flee Israel and get work with A.R.G.U.S in the United States until she came into contact with a Daemonite who inadvertently put her in a position that cost her the lives of her mother and younger brother. From there she also accidentally donned the shadow skin and discovered she could control shadows, travel through shadows across the globe, and become insubstantial like a living shadow.  With this she wages a war against aliens. But she also realizes she is becoming more like the aliens she fights and the skin, which she has to rip off when she is done with it every time, is becoming harder and harder to separate. One day it won’t come off at all.  But she doesn’t stop, because she can’t. She’s already lost everything that could save her. Now she is adrift in a sea of all her worst traits. Time will tell what the Void will do to her.
  • Wonder Woman #23.1: Cheetah is another comic that I just could not get into.  It just grated me in the wrong way and I feel like it brought out the worst instincts in me as a person.  Perhaps that was what writer John Ostrander was going for when he wrote this, as the Cheetah is the worst, animalistic instincts that come from the bowls of the character, Barbara Minerva.  I also feel like it is an examination of the different conceptualizations people have of feminism.  Wonder Woman is perhaps the greatest feminist icon in the comic medium and a paragon of strong women that extends outside of comics as well.  It is something that has haunted the character almost from her inception, putting her on a pedestal of scrutiny that many female characters in comics, television, film, and other forms of literature rarely are subject to.  She has to be perfect and has to be a role model for girls, but what exactly should she embody and convey to the women who read her?  That’s the question with no answer.  It also is a major reason that apart from the Linda Carter TV show, there has never been a live action adaptation of the Amazing Amazon.  However, focusing back on the character herself  the general assumption is that Wonder Woman is a “real” woman who embodies strength, wisdom, honor, and integrity of a female warrior race.  Cheetah in this comic began her association with Wonder Woman as her friend and confidante.  She was a professor of antiquities, Dr. Barbara Minerva, who helped curate magical artifacts for A.R.G.U.S.  Since Wonder Woman was brought into governmental affairs by Col. Steve Trevor, she also was involved in the arcane aspects of A.R.G.U.S’s collecting.  Ostrander posits that Minerva was raised by her Aunt Lyta in worship of the goddess of the hunt as the Amazons did before them and that the Amazons were goddesses themselves.  Wonder Woman laughs at this, because from her perspective, the thought is ridiculous.  Amazons (who could be viewed symbolically as empowered women) were not and are not goddesses or any better inherently than anyone else.  They are equal to men or women found in the world of men.  This results in an immediate reaction of unbridled anger at the deeply fostered beliefs in Amazonian divinity embedded in Barbara’s psyche.  That process of indoctrination and being raised in what could be described as a Hellenistic cult is truly horrifying, considering that she was made to hunt her own brother while her mother was forced to watch by Lyta, all to prove a point about the strength of women descended from Amazons.  However, years later after turning into the Cheetah and literally becoming an acolyte who kills in honor of the goddess of the hunt, she realizes the futility of her insane aunt’s proselytizing.  Wonder Woman was right about Amazons, she was right about worshiping the hunt and violence as a solution, but she accepts that this path has led her into being a monster that consumes that which feeds it, namely returning to where it all began and hunting her Aunt and giving the “glory” of the insane woman’s death to the goddess which that same priestess worshiped above all others.  What separates a noble warrior like Wonder Woman from a cold blooded killer like Cheetah and her aunt is compassion, wisdom, and understanding, always trying to understand those that oppose you and treat with them before resorting to hostility.  When Geoff Johns first wrote Wonder Woman I did not like her at all, because she did not embody these key principles.  I feel that since then it has been made clear that what we see here is the Wonder Woman that needs to be depicted and that these traits are what makes her not only a strong woman, but just a very strong character in general.  If you take those characteristics away from her, as DC creators (looking at you Johns) tried to in the beginning, you turn her into a ravenous beast like Cheetah.

    The Beast Within

    The Beast Within

  • Arrow #11 marches closer and closer to completing the storytelling omitted from the first season of the television series.  Inside is the story of a low level enforcer for the mob doing horrible things to scratch out a living for him and his family.  Following this is perhaps the most anticipated side story of the season.  Laying in a hospital bed, Malcolm Merlyn recounts the journey that led him to become the Black Archer.  While it’s very short, only ten pages, there is a a great deal of revelation in those ten pages, including the desired vengeance for what happened to Malcolm’s wife that led him down the road to his “Undertaking.”  The issue ends with a look at a formative episode in Roy Harper’s life before the start of the show.  Roy maintains that he can be more than what he is and after his abduction in the episode “Salvation” he tries actively to fulfill that potential.  In his segment in this issue we see him given a chance and blowing it completely, but despite that he learns that even the people he wrongs still have faith in him.  It also explains how he got his distinctive red hoodie.  If you love the show Arrow this comic is definitely a worthwhile bookend that fleshes out the plots even further.

There were some really incredible stories told this week, and quite a few that failed to measure up.  What didn’t quite pan out was more than made up for in the comics that exceeded expectations and fulfilled their subjects’ potential.  After this there is only one more week in September’s Villains Month.  I can’t wait to read the final batch of issues and share my thoughts.  Hope to see you then.

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

Illustration Credits:

Action Comics #23.3: Lex Luthor: Drawn by Raymund Bermudez, Colored by Ulises Arreola, Inked by Dan Green.

Superman #23.3: H’El:  Drawn by Dan Jurgens, Colored by Hi-Fi

Justice League Dark #23.2: Eclipso: Drawn by Philip Tan, Colored by Nathan Eyring, Inked by Jason Paz.

Justice League #23.3: Dial  E: Cover art by Brian Bolland

Batman #23.3: Penguin:  Art by Christian Duce, Colored by Andrew Dalhouse

The Flash #23.3: The Rogues: Art by Patrick Zircher, Colored by Nick Filardi

Wonder Woman #23.1: Cheetah:  Art by Victor Ibanez, Colored Wil Quintana

Sept. 4, 2013

It has been a LONG time since I have posted, due to some scheduling conflicts and a REALLY busy summer, but it’s good to be back talking about comics, and DC’s Villains Month is a perfect time to get back in the swing of things.  So far this first week has produced some interesting specimens as well as some really out-of-the-box concepts for the hallmark villains of the DC universe.  That said, less talking, more comic book reviewing:

  • Forever Evil #1 starts off the post Trinity War mega event across the entirety of the DC Universe.  The Crime Syndicate of America from Earth-3 has descended upon our world from a portal opened by Pandora’s Box.  As a result the Justice League has been “killed,” though it is not depicted nor explained, and the CSA have set about creating a Secret Society to claim the world in the name of evil. It doesn’t so much seem like a Secret when they are doing it out in the open . . .  From the four corners of the globe their acolytes are recruiting the evilest minds the planet can offer, from Gorilla Grodd to the Scarecrow, to create a new world order.  The issues opens on Lex Luthor, newly emancipated from prison for services rendered to the government, trying to coerce Thomas Kord (possible father of Ted Kord) to relinquish his controlling majority of Kord Industries with horrific, thinly veiled threats and bribery.  In mid-flight the helicopter they are riding in crashes leaving only Luthor alive.  The power goes out and all hell breaks loose.  The Crime Syndicate proudly proclaim, “This World is Ours.”  That is when the prisons are opened and  evil is truly unleashed like an open floodgate.  Throughout the rest of the issue we see the twisted version of the Justice League systematically subvert the last vestiges of super-powered defenders to proclaim their own order upon the globe.  With issue’s end the part that Luthor will play in the proceedings is very ambiguous.  Geoff Johns does a pretty decent job writing this story, which is interesting considering his blunt, overwrought attempts at the main Justice League title over the past two years. Aiding him in art is David Finch, who helped him launch Justice League of America eight months ago.  Of the two, I think that David Finch is the one that most excites me on this title.  Johns had his day in the sun, but has either lost his touch or gotten too power mad in his new executive position.  Either way, I am infinitely enthusiastic about this issue, as it expands the multiverse by one more world, giving birth to the Crime Syndicate:  Ultraman, Superwoman, Owlman, et al.  Owlman is perhaps the one that has the most interest to me, especially after the way he was portrayed in the DC animated movie Justice League: Crisis on Two Earths.  We shall see if this event and the New 52 does justice to the former incarnations of the Crime Syndicate and Earth-3.
  • Action Comics #23.1:Cyborg Superman is written by Supergirl writer Michael Alan Nelson following the shocking revelation of the Cyborg’s identity at the end of Supergirl #23 following his capture and rending the flesh off Supergirl in order that he could regain his Kryptonian body and his lost memories of his identity.  After stripping her flesh through  molecular dissolution and regaining his, he is revealed to be none other than Zor-El, father of Supergirl.  In this issue we see a man obsessed with perfection and obsessed with proving his intellect over that of his younger, seemingly brighter brother, Jor-El, in the face of Krypton’s destruction.  Undertaken out of pride, his efforts were also undertaken in order that his entire family could survive.  Using half understood Brainiac technology, he tries to save his native Argo City, only to see it collapse and his fellow Kryptonians slowly die.  When Brainiac returns he bestows upon Zor-El what the man himself had attempted: to force perfection upon him.  Many parts of Zor-El are completely replaced to make him more efficacious and that which is organic was rewritten genetically to resemble his “superior sibling,” hence his looking so much like Superman and not his blond, more round faced self.  What remains of the issue is an exploration of what cold logic and mechanized calculations deem “perfect.”  The Cyborg Superman issue encapsulates beautifully what Zor-El has become after Brainiac altered him and sets the stage for what is to come in the aftermath of his restoration in the pages of Supergirl #24.

    Extreme Cosmetic Surgery

    Extreme Cosmetic Surgery

  • Batman #23.1: Joker is a real treat.  Under the pen of the great artist Andy Kubert, scion of the legendary Joe Kubert, we see him (to my knowledge for the first time) write an incredibly introspective look at the Joker, glimpses of his past, and what makes him tick.  Opening on a traumatic childhood, we see a horrendous display of abuses heaped upon him by a violently insane aunt, including scrubbing his face and body down with bleach and coarse brush, in essence explaining his white skin and his psychopathy.  Cut to the the near-present (years before he cut his face off) where the Joker raises a baby gorilla he kidnaps from the zoo to be his son.  Truly touching, he gives the gorilla everything he was denied as a child including genuine love.  He molds the ape into his own likeness, but not with any malice towards his “son’s” feelings. However, since there is no mention of the gorilla in the present, the reader knows it won’t last.  The Joker witnesses his son’s death and from what follows the reader knows that this creature was literally the closest relationship the Clown Prince of Gotham has ever had, and indeed, the Joker begins crying.  But he quickly breaks into laughter and makes grossly morbid jokes about the whole thing.  Kubert shows us that the Joker is capable of emotions, but because of the incredible trauma of his youth, whenever they are too much to bear his brain reverts to a manic state of euphoric laughter to compensate.  Truly amazing storytelling, befitting his father’s legacy.  Kubert wrote this, but the art was done by another of my favorite artists, Andy Clarke.  Clarke’s art has made the backups of Detective Comics soar and his treatment of this entire issue augments and accentuates Kubert’s plots brilliantly.  This is a Villains Month issue that is not to be missed.
  • Batman & Robin #23.1: Two-Face written by Peter Tomasi and drawn by Guillem March chronicles the fate of Two-Face during the beginnings of Forever Evil.  Batman is “dead” and Gotham has gone dark.  For the former Gotham district attorney and current crimelord there are two paths to take: save Gotham or let her burn.  A tough call that is made simpler by a coin toss.  Interrupted by the Scarecrow, a third option is presented, or rather a second choice to be made.  Scarecrow represents the Secret Society who wish Two-Face’s allegiance in subjugating our world.  So the more pertinent question becomes: join the Society or fight the Society?  Another coin toss.  As Gotham cries out, Two-Face’s reactions to it, coupled with a few flashbacks to his past, really fleshout the man he has become and where his loyalties and druthers find themselves.  If his psychoses were simple to understand he wouldn’t have been sent to Arkham all those times, and Tomasi really feels out that space in his story, showing the true depth of his madness.  He also throws in some old friends from his pre-Reboot stint of the Batman & Robin title as well to shake things up.  If you like the character of Two-Face and await what Tomasi plans for him in the formerly titled Batman & Robin series, this issue is a must read.
  • Detective Comics #23.1: Poison Ivy, like Two-Face above, deals with Ivy’s emergence into a Gotham a without power, law, or the Batman.  As it has ever been depicted in such conditions, it is ANARCHY!  It is in this that Poison Ivy is reminded of the disgusting nature of humanity.  Among the insanities she witnesses is a scene of domestic abuse that she intervenes upon.  In doing this she is taken back to her childhood and her own battered mother finding solace in her garden, with peace of plants.  A horror would later await both in that garden, scarring young Pamela for the rest of her life and starting her path towards becoming Ivy.  That path is laid out through her entry into academia and the internship at Wayne Enterprises that brought about her physical transformation into the floral female terrorist she has become.   Derek Fridolfs writes this issue with the help of artist Javier Pina.  Poison Ivy can be written very two dimensionally, and this story skirts that territory with a semi-intricate explanation of her motivations, but still lacks some key element of why she is as generally misanthropic as she is depicted by issue’s end.
  • Green Lantern #23.1: Relic introduces us to the eponymous “Relic,” a petrified remnant from the Universe that preceded ours.  Since he awoke in Green Lantern: The New Guardians #22 he has been an enigma that has cryptically stated his good intentions while attacking viciously and unprovoked the Lanterns he dubs “lightsmiths.”  His goal is stated as “saving the Universe.”  This issue, written by Green Lantern scribe, Robert Venditti, chronicles his life in the universe that preceded ours and how that universe functioned.  The lightsmiths were wielders of the emotional spectrum, with all the same colors and emotions we have seen since Geoff Johns introduced them after the “Sinestro Corps War” in 2008.  However, despite their constant warring, the universe was built upon the light they used and instead of cities, civilizations, and infrastructures being built out of physical resources, the light constructs of the smiths served that function.  However, the greatest scientific mind of that universe saw that like physical resources the light came from somewhere and was not infinite.  It could run out and eventually would if it was used wantonly as it had been.  His warnings fall on deaf ears and it is because of this that the universe before ours ceased to be and he who was mocked as a “relic” in his universe, became a relic of his universe.  Upon awakening in ours he became aware of the likenesses of our universe to his and the presence of “lightsmiths.”  This time around he knew precisely the danger they posed to reality, and that arguing verbally with them was not the best course if anything was going to be done to save another universe.  Hence his cryptic tone, hence his blatant belligerence, and hence the “Relic” that we have seen thus far   The “Blackout” event is less than a month away and already the dimming described by him that preceded the cataclysms that claimed his universe has already been witnessed by the different Corps of Lanterns.  Venditti has set the stage for a true test of the Lanterns the likes of which (even under the pen of Geoff Johns) we have never seen the likes of.  Aiding him is artist Rags Morales who worked with Brad Walker, the Green Lantern: The New Guardians artist who first depicted Relic, on Grant Morrison’s Action Comics run.  Truly an issue to procure if you call yourself a fan of Green Lantern.
  • Green Arrow #23.1: Count Vertigo could almost be another issue of Green Arrow.  With the usual GA team on deck that is no insult.  This series is a delight, really tapping the limits and possibilities of the character to their peak potential.  However, being a Villains Month issue the dynamic creative duo focus their literary lens on Count Vertigo, by far  the most iconic of Oliver Queen’s nemeses depicted since the reboot.  Being in a rebooted universe, little is known about the man behind the disorienting device. This issue remedies that, telling the story of Werner Zytle, son of the late deposed Count of Vlatava.  He is raised in Canada by his  abusive mother who blames him for the fall of their family’s fortunes in the motherland.  She later sells him to a scientific research firm, prompting his implanting with the device that grants him his power.  It is here that his true power, both in spirit and body, takes hold.  From here he is able to reclaim his destiny, starting with his freedom, then regaining his homeland, and finally in the reunion with his mother he reclaims his past and identity.  He is very much a Mordred character, raised by  a single, overbearing mother to fulfill a destiny not of his choosing and ultimately becoming a monster that consumes the mother figure and becomes a plague upon humanity.  This is very much the case with Vertigo and though the issue is not structured like most of its fellows this week, it functions excellently in advancing the plot of Green Arrow and maintaining the integrity of the series, unlike many of the stand-alone stories out this month.  I enjoyed it thoroughly, but then again Green Arrow is one of my favorites.

    A Son's Vengeance

    A Son’s Vengeance

  • Justice League #23.1: Darkseid almost completely rewrites the entire concept of the New Gods.  I am not sure whether this is a good thing or a bad thing.  Since Justice League #3 I have been up in arms against Geoff Johns’ blatant disregard for Jack Kirby’s seminal creations and the perfection of his Fourth World mythology.  Since then, Brian Azzarello’s work with the denizens of New Genesis have been slightly better.  High Father was done a little heavy handed, but the essence was there.  Scott Lobdell returns the character of Orion to a place that is well within the character’s original context and feels genuine.  And then we come to this issue, written by Greg Pak.  It begins by depicting Uxas and Izaya, mortals living upon the world of the (Old) Gods, scratching out meager existences.  On this world the monumental gods frolicked and warred with one another in complete disregard for the lives of those tiny mortals living beneath them like insects.  In this version, Izaya is married to Avia, as was so in the original Kirby books, but this time around Avia is the sister of Uxas.  Izaya and Avia are devout believers and worshipers of the  oblivious, elemental gods that plague them.  Uxas is more pragmatic and “blasphemes” them constantly.  He is cunning and engineers the ultimate death of these gods that brings about utter ruin to the planet, but also endows him with the powers of the gods he kills, forging him into Great Darkseid.  Izaya is granted the powers of those stricken gods that escape Darkseid, rewarding his faith with the powers that baptize him as Izaya, the High Father.  The planet is destroyed, but remade into the two planets of New Genesis and Apokalips.  The final eight pages introduce a character from Pak’s Batman/Superman title, Kaiyo the Chaosbringer.  This little sprite appeared at first to be a minor demon, but it seems very probable that she is in fact a New God of Apoklalips.  What’s more, her exploits in the last couple of pages make it seem probable that she is the lost daughter of Darkseid that he world-hops to find, prompting his appearance in Justice League’s first arc.  This issue put me off at first, because of the “heresy” of its divergence from Kirby’s Fourth World.  However, in retrospect, it was a well written, intriguing concept that accentuates Pak’s previous work in the firs three issue of Batman/Superman and sets the stage for interesting future developments with the New Gods.

    A So Was Born a Fourth World . . .

    A So Was Born a Fourth World . . .

  • Earth 2 #15.1: Desaad appropriately segues to another New God of Apokalips and someone whose sadism might even rival that of Great Darkseid.  Writer Paul Levitz who introduced Desaad into the New 52 in his Worlds’ Finest title chronicles the mad god’s advent to our Earth after the events of Earth-2 #1.  His goal is really two-fold, filling in blanks in the story of what Desaad has been up to since coming to Earth-1 as well as how that has affected things the reader witnessed since the first issues of Worlds’ Finest, and secondly proving how sick and perverse the mind of Desaad truly is.  One interesting thing that I think blew me away the most was in Desaad’s search for minds to corrupt and turn toward his dark aims, he stumbles upon an artist at a drafting table.  Desaad goes to the man’s home and emerges from a Boom Tube, renowned for the thunderous cacophony it makes prompting its name, and yet the man doesn’t turn around.  When Desaad looks over his shoulder, he stops short and seems apprehensive if not actually afraid, and decides to leave this man alone.  One would ask, what is going on, but the savvy comic reader who knows not only something of comics in general, but more importantly the character of Desaad and the other New Gods, will notice something very key.  The man at the table looks EXACTLY like a young Jack Kirby, creator of the Fourth World, of which Desaad is a denizen.  The hair cut, the physique, the thick eyebrows, the posture.  All so blatantly Kirby.  When we see a close up of his work over his shoulder from Desaad’s perspective the rough sketches have all the hallmarks of Kirby’s illustrative style.  Through meta-storytelling, Paul Levitz sets a real hook in the reader, inserting the King of Comics into a world featuring his own creations.  What his existence in this world will mean for Desaad and the other New Gods is a mystery, but one that I will faithfully follow to find out the answer to.Desaad1


    Behold Thine Creator, Ye Mighty God!

  • Superman #23.1: Bizarro was a slightly strange twist on the character, albeit a short lived one.  Sholly Fisch, who cut his teeth in the big leagues on the backup features of Grant Morrison’s Action Comics run, writes this issue with the help of artist Jeff Johnson.  In it we return to a seminal moment where Lex Luthor and Superman meet for the first times in the third issue of Action Comics.  Largely due to experiments Luthor conducted under military purview the young Superman was hurt to the point of bleeding (something VERY difficult to achieve under most circumstances) and as a result he used Lex as a hostage to procure escape.  Through this encounter Luthor gained two things: a personal animosity for the Man of Steel and a sample of his blood.  Using further contracts with the U.S. Military he attempts to augment a normal human being by re-splicing Kryptonian DNA gained from the small sampling of blood into their own genome.  The result of this is, of course, Bizarro.  To my knowledge, Bizarro was always either a clone or a refugee from a dimension where everything is backward.  Fisch makes a good sampling of Bizarro’s reversed Superman powers, i.e. Freeze vision and incendiary breath, but doesn’t quite pull off a Bizarro yarn that feels authentic.  Bizarro’s rampage lacks most of the quintessential “misunderstood monster” motif that characterize almost all of his appearances in the past.  This is an okay issue if the reader is just looking for Bizarro powers, but if they want Bizarro, the childlike villain speaking in opposites and conflicted in a limited understanding of the world and morality, this definitely is not the Bizarro story for them.
  • The Flash #23.1: Grodd is similar to, but slightly different from the Action Comics: Cyborg Superman and Green Arrow: Count Vertigo issues, in that it functions as a within the main story of the Flash series to continue on into later issues.  However, unlike both Cyborg Superman and Count Vertigo this doesn’t grant the reader any further insight into the past of Grodd.  What it does, however, is juxtapose his thoughts and philosophical beliefs against the depiction of the aftermath of the Gorilla invasion of the Gem Cities he lead which terminated in Flash #17.  Since then Solivar has taken over leadership of Gorilla City and worked painstakingly to not only make amends for the actions of the delusional despot, Grodd, but begun the process of making real steps to not only forge lasting peace between humanity and Gorillas, but have the Gorillas enter into the larger world we all share.  This is not something Grodd can abide and the manner of his return from the Speed Force is revealed, as is his overall place as an essential villain in the Flash andt he larger DCU.  Brian Buccellato, colorist and co-writer of the Flash, pens this issue with the help of artist Chris Batista.  Batista’s art is quite different than that of the usual Flash panoply of artists, including Buccellato’s co-writer on the title, Francis Manapul.  This is good in my opinion, because the Flash himself isn’t even seen in the issue and Batista’s art really depicts the Gorillas well.  Definitely a thoughtful, well written, well drawn issue.
  • Batman: The Dark Knight #23.1: The Ventriloquist was simply okay.  I am a huge fan of Gail Simone on the Batgirl title and I attribute its success almost entirely to her writing, reserving a generous helping of credit to Barbara Gordon herself, who is one of my favorite comic book characters. Top 10, without a doubt.  This origin of the Ventriloquist fell a little flat for me.  Sure it’s interesting and sure Shauna is a very complex, psychotic person with a very troubled past. However, for me the Ventriloquist is Scar-Face and Dummy.  There is something so “Batman” about them.  I say Batman, and although Shauna and Ferdie are currently appearing in Batgirl, I still think that the mundane nature of the original Ventriloquist works more effectively with unpowered vigilantes than this new version.  The original Ventriloquist, Arnold Wesker, was a non-powered guy with dissociative personality disorder, projecting his primary, dominant persona into a ventriloquist dummy done up like a 30’s era gangster named Scar-Face.  The premise fell well within the realm of reality and created a complex villain mired in a psychosis rife with situational drama.  Wesker and Scar-Face might disagree, but being that Scar-Face is the dominant persona, Wesker is going to be hampered in foiling the inanimate object, because his own drive is what is empowering the dummy.  Later there was a beautiful, blonde woman (Peyton Riley) who took over as Scar-Face’s ventriloquist, but still follows the same paradigm.  When you have a woman like Shauna who has telepathic abilities that she exploits years before she got her dummy, Ferdie, you kind of remove the intrinsic importance of the ventriloquism schtick from her psychosis.  Sure she named her dummy after her deceased twin brother, and yeah she was a product of a negative environment growing up, but that in no way enhances the nuanced concept of the Ventriloquist.  Basically, this issue and the iteration of the character in the New 52 reinvents the wheel, with more bells and whistles, but less functionality.  I like Gail’s work, but with a heavy heart I say that this issue can be passed on with no loss for any Bat-Family fan.
  • Batman: Black & White #1 is a title which returns in the New 52 to presents several intriguing short stories depicted completely in monochromatic black and white panels.  With the writing talents of Chip Kidd, Maris Wicks, John Arcudi, and Howard Makie, and the artistic talents of Neal Adams, Michael Cho, Sean Murphy, Joseph Quinones, and Chris Samnee, many unique perspectives are shed on the Dark Knight and his myriad interpretations.  Foremost of these is Neal Adams’ piece, both written and drawn by the Batman maestro who helped create Ra’s Al Ghul and the Man-Bat.  In his Batman: Zombie story, the impact of Batman as a fighter of evil is explored in great poignancy through the social issues of our day and just how effective a Dark Knight can be against the day to day evils of the 21st century.  His writing is razor edged and his art is at the top of its game. Chip Kidd and Michael Cho’s Don’t Know Where, Don’t Know When comes in second in my opinion, giving a Darwyn Cooke-esque, Silver Age story of Robin and what truly makes him a worthy contemporary for the Batman.  What’s more, even Superman has to tip his hat to the Boy Wonder by story’s end.  John Arcudi’s Driven, drawn by Sean Murphy, is an interesting tale of Batman and his relationship with his most iconic accessory:  the Batmobile.  The other three stories are good, but these three especially epitomize innovation in the realm of Batman.
  • Codename: Action #1 is basically a Cold War, nerd boy fantasy mash-up.  It takes place in an ambiguous period during the Cold War following a strange amalgam of characters throughout its globe trotting plot.  In the background are two Golden Age comic book characters resurrected in a slightly more modern context.  In America there is the costumed adventurer, the American Crusader, and in Europe there is the British aerial operative, Black Venus.  American Crusader finds his vintage in 1941 as a crimefighter that gained powers from stray radiation from a device he was working with called an “atom smasher.”  Black Venus was a war nurse turned aviator during WWII famous for her black bodysuit and aviator goggles, who first appeared in comics in 1945.  In the foreground of the plot we see a new secret agent complete his tests of initiation, earning the designation Operative 1001.  He is then teamed up with Operator 5, the fifth agent ever initiated into the “Intelligence Service,” and a living legend.  Facing all four of these characters is a global diplomatic meltdown of epic proportions.  The French threaten war against the Soviets if they interfere with North African assets, the Japanese threaten war if the Russians movie into their territorial waters, the Chinese threaten war if the Japanese mobilize their armed forces, and the Soviet Union threatens to launch nukes if anyone doesn’t accede to their demands.  The kicker is that the Intelligence Services have intel that the Soviet General making the threats at the UN is in fact not the actual General due to a subcutaneous tracking device they implanted the real one with.  So the plot thickens . . .   Writer Chris Roberson kicks off this series, with no shortage of help from artist Jonathan Lau, in great style and panache, eliciting all the romance and intrigue of Cold War spy thrillers and the action of costumed superhero comics in a shaken, not stirred, suave superhero spy masterpiece.
  • Trillium #2 begins at the strange middle of the first issue with the meeting of two diametrically different people, whose shared intrepid nature is the sole bond that connects them in what is shaping up to be a REALLY innovative series.  Nika Temsmith, the intergalactic scientist from the year 3797 searching for a cure to a sentient virus, meets up with the English explorer William Pike on Earth in the year 1921, who himself is searching for purpose after losing his in the Great War.  Ironically what brings them together is the Incan temple that Pike and his expedition have just discovered after centuries of abandonment.  In Nika’s own time, a virus with the capacity for thought and higher reasoning is at war with the human race and reduced our population to mere hundreds of  thousands spread across the galaxy in weakly sustained colonies.  Seeking to find a cure she goes through a “primitive” alien race’s pyramidal temple emerging on Earth in 1921.  As can be logically deduced from the time gap, the English both speak are not even close to being mutually intelligible.  So the entire issue is merely them trying to communicate and ascertain who each other is and what each other desires.  Slowly as events unfold they get an idea of the situation and the revelation is powerful to behold.  Jeff Lemire writes and illustrates this series MASTERFULLY!

    Trascendence of the Trillium Flower

    Trascendence of the Trillium Flower

And so ends the first week of Villains Month and my first week back on “Off the Panel.”  Hopefully, you folks enjoyed it and will come back to enjoy future issues with me.

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

Illustration Credits:

Action Comics #23.1: Cyborg Superman:  Art by Mike Hawthorne, Colored by Daniel Brown

Green Arrow #23.1: Count Vertigo: Art by Andrea Sorrentino, Colored by Marcelo Maiolo

Justice League #23.1: Darkseid:  Art by Paulo Siquiera & Netho Diaz, Colored by Hi-Fi

Earth 2 #15.1:  Art by Yildiray Cinar, Colored by Jason Wright

Trillium #2: Art Jeff Lemire, Colored by Jose Villarrubia

Week 87 (May 1, 2013)

I am SUPER overdue on this week of reviews, which is a shame because it was one of the best, comprised of some hallmark issues. Unfortunately, some of my paying writing jobs have gotten in the way of this enjoyable hobby blog.  I’ll stop with the long winded intros and just get the long overdue reviews.  Enjoy:

  • Action Comics #20 moves into the the second issue of a new era in Action Comics.  Cowriter Andy Diggle and cowriter/artist Tony Daniel left Superman recovering from a nanite infection that turned his hand into what looked like a living metal clawed monstrosity.  This issue has him waking up in the care of the brilliant and seductive Dr. Shay Veritas after his initial infection.  She teleported him away from the population to ensure their safety, but apparently Superman’s super immune system was able to separate the infection from his body.  However, the nanite virus, still in the shape of the clawed hand, maintains its bite.  The virus apparently was able to latch onto his DNA and sap many of his talents and abilities into its own hybrid genetic code.  Succeed or fail, this synthetic mutating virus is the opening salvo in Lex Luthor’s renewed war with Superman.  The next move in the chess game with the Man of Steel proves to be a nightmare straight out of a George Romero movie.  Following in the tradition of the $3.99 titles, writer Scott Lobdell and assistant dialoguist Frank Hannah begin a World of Krypton backup feature with the help of Philip Tan on pencils.  This feature begins with a young Jor-El discovering an ancient underwater city built by a pre-Kryptonian species.  His exploration, though groundbreaking and rewriting everything that had been known about Krypton’s natural history, doesn’t fail to annoy his fellow members of the Science Council, nor the Military Guild who guard them and who are holding an emergency vote on a key issue of great importance to the stability of Kryptonian governance.  In the wake of their disgruntled waiting, we see Lara Lor-Van (Superman’s mom and Jor-El’s future wife) maligning the starry eyed visionary and also find that she is at this moment engaged to her partner in the Military Guild, Jax-Ur.  Quite interesting for the Superman faithful, because Jax-Ur is a renowned Kryptonian criminal of great infamy in all Superman mythologies.  Ending on an explosive note, this first installment of World of Krypton accomplishes SO much!!!   The political balance of Krypton is established quite well, as are the characteristics of several important characters.  Jor-El and his future wife Lara are both obvious, playing well toward their depictions in Lobdell’s Superman #0, which we saw last September.  Also featured briefly, but certainly of prominence is Kra-Hu, the Afro-Kryptonian senior member of the Science Council who seems to be Jor-El’s mentor and father figure in the Kryptonian governmental structure.  Jax-Ur, engaged to Lara and predating his criminal destiny, will no doubt cut an interesting figure as well with Lobdell’s attention to canon and genius of innovation balancing toward a nice middle ground.  Everything about this new arc in Action Comics has me giddy as a school boy.  Keep it coming, DC!!!

    Beware the Claw!

    Beware the Claw!

  • Detective Comics #20 is in essence the endgame to writer John Layman’s open arc on this title.  With his opening issues he’d paved the way for the slow rise of Ignatius Ogilvy in the shadow of his boss, the Penguin’s grandiose bid to claim a place in the public eye of Gotham.  Using this distraction he was able to wrest the Penguin’s empire out from under his feet and establish an iron grip on Gotham’s underworld, installing himself as “Emperor Penguin.”  Well, now with Penguin in prison and his power base entrenched he steps out of the shadows and calls the Batman out.  Suicidal right?  Not entirely.  Ogilvy had this whole drama choreographed to the last movement and the Bat finds himself more than evenly matched when he meets Emperor Penguin face to face.  What Batman finds is no longer a human being, but rather a nightmare comprised of bits of all his nemeses.  Kurt Langstrom’s man-bat serum in his blood, mixed with Bane’s super-steroidal venom, and Poison Ivy’s plant elixir giving him bark-like armored skin beneath the course bat hair.  Quite frankly, with his analytical mind and enhancements, Ogilvy has the Bat outmatched.  Who will save him?  The answer will surprise you.  In the backup feature, also written by Layman, we are given a look at the childhood and rationale behind Ogilvy’s meteoric rise through the Gotham underworld.  His journey started when he was a child leaving a movie theater in a bad part of Gotham and his mother and father gunned down in front of his eyes.  Mirroring Batman’s traumatic catalyzing event, Ogilvy went the other direction from Batman, not seeking to end crime but rather to immerse himself in it and control it from the top echelon.  From Blackgate prison he narrates all of this and shows his preternatural ability to navigate circles of power and insert himself into the key positions through a Machiavellian display of cunning and physical strength.  Ogilvy came out of nowhere in the world of comics.  He has existed for less than a year and already John Layman has set him up as a Batman character of the highest caliber.  Kudos, Mr. Layman.  I had deep reservations about your competence at handling this title and you proved me infinitely wrong.  Layman is the man for Detective Comics.  Long may he write.

    The Emperor of Gotham

    The Emperor of Gotham

  • Aquaman #19 was a late addition to the roster, laid over from last month’s lineup.  Aquaman continues to struggle with the weight of the crown he once forsook for a simpler life.  Now it weighs heavier than ever as he is forced to “swim against the tide” of his usurping his younger brother Orm’s throne and his defense of the surface despite the catastrophic war between Atlantis and the United States.  To rally his troops he takes them against the submariner terrorist called the “Scavenger.”   Upon the engaging of one of the Scavenger’s submarine’s Arthur and his chosen elite discover a ghastly secret.  On land Mera is abducted by the resurrected Dead King of Atlantis, the first to sit upon the throne.  We have heard tell of him starting with the first arc, “The Trench” where the fish-men monsters are introduced, then later with the introduction of the Dead King’s scepter in the next arc “The Others”, and finally in the previous “Throne of Atlantis” crossover.  Now we see the ancient monarch for the first time and he is chilling.  Finally, this issue surprises with the reappearance of a shocking figure from her past.  Geoff Johns has been teetering this series between quality and throwaway storytelling.  The political intrigue following “Throne of Atlantis” and very personal depictions of the main characters amidst the aforementioned arc’s fallout is really engaging at this point and well worth the read.
  • Green Arrow #20 is a title I have begun to look forward to month to month.  Following Jeff Lemire’s taking up the title with issue #17 this series has gone from tragic joke to a hard-edged, thrill-a-minute roller-coaster ride.  Ollie Queen has lost it all!  His company has been forcefully ceased by a rival businessman, Lacroix, who also dons a black hood and mask, kidnaps his two employees/confidantes, murders one, and attempts to kill him using archery skills that rival Ollie’s.  To top that off a blind wiseman named Magus leads Ollie down a rabbit hole of discovery, pointing him in the direction of Lacroix’s (nom-de-guerre Komodo) secret lair with a picture of the enigmatic businessman/assassin with Ollie’s dad, Robert Queen ON THE ISLAND OLLIE WAS STRANDED ON!!!  Obviously this was before Ollie was stranded on it, but still more than coincidental and raising the question of how Lacroix, Ollie’s father’s death, and so many other things tie into a larger plan?  This issue opens with Ollie having escaped his first encounter with Komodo by the skin of his teeth and regrouping.  Komodo returns to his lair to make contact with the group he works for, the Outsiders.  This isn’t the para-Batman army we have seen in the past or anything like it.  This is a new Outsiders and their significance is crucial, tying into this series and Katana.  Ollie has it out with Komodo a second time in this issue and this second encounter not only ups the ante but showcases just how intelligent, versatile, and strong-willed Ollie truly is when lives are at stake.  Jeff Lemire is KILLING IT!!! This series is ridiculously awesome and in no small part thanks to artist Andrea Sorrentino’s stark rendering of the plot in stark light/color vs. black/shadow styling.  Just a phenomenal series so far and one not to be missed.

    The Outsiders

    The Outsiders

  • Batwing #20 begins a dubious new direction in this title’s future.  David Zavimbe was created by Grant Morrison to be a Batman for the continent of Africa.  A large task, but one that David could feasibly achieve considering his personal history as a child soldier in Africa and his experiences since growing up in a complex, corrupt political structure.  The first 20 issues (including Batwing #0) all show very vividly how intricate the balance of power leans in parts of West Africa.  New writers Jimmy Palmiotti and Justin Gray have retired Zavimbe and decided to replace him with Luke Fox, son of Wayne Enterprises Executive Lucius Fox.  Luke Fox whose only link to Africa is that he is African American.  To me it seems kind of racist that they would assume that if you are black you are interchangeable.  Just because your ancestors came from Africa doesn’t mean you have a preternatural knowledge of African history and the inner workings of the post-colonial political workings of dozens of nations.  Luke makes a joke about it in this issue, but despite them joking about it Palmiotti and Gray still made that decision.  Perhaps they have a goal in mind that will validate the concept, but they have a long way to prove that.  One thing Luke does have is enthusiasm and conviction.  Going to an undisclosed part of Africa, Luke faces off against a criminal organization called the the Marabunta that run money and guns to warlords and terrorist organizations throughout Africa.  In his descent into their world he battles a woman in insectoid-mech armor called “Lady Marabunta” and an anthropomorphic lion named Lord Lion-Mane.  The issue is entertaining and intriguing.  My objections remain unrebutted so far, but its only been one issue.  I will say that Palmiotti and Gray with the help of artists Eduardo Panisca and Julio Ferreira have earned another issue.
  • Swamp Thing #20 brings forth the second issue of the massive paradigm shift between Scott Snyder’s incredible inaugural run on the title and that of new series writer Charles Soule.  The issue itself is really well written and the plotline pretty rough.  Last issue, Scarecrow was trying to steal a rare flower from the Metropolis Botanical Garden when Swamp Thing stepped in to stop him.  Scarecrow unleashed his fear toxin on Swamp Thing causing the avatar of the Green to freak out and thereby the plants within the City of Tomorrow to utterly freak out by extension.  Inside his head, Swamp Thing sees Alec Holland living the life he would have led if he hadn’t been made into Swamp Thing.  He sees a life with Abby Arcane with a lovely house and children.  Everything is perfect except when he comes into his dream life, bringing the power of the Green with him.  Living out his deepest fear upon committing himself completely to the Green, he must face the real possibility that he will slowly lose his humanity and in so doing bring death and destruction upon all the people he comes into contact with at the behest of his plant-like masters.  Outside of his inner delusions his control of the Green is making monstrous vines, trees, venus fly-traps, etc, tear Metropolis apart and fulfill the very nightmare that bore them, that Swamp Thing will hurt all the people he comes into contact with.  Superman of course comes to the rescue of his adoptive city, takes out the main threats, such as the massive vines taking down a suspension bridge, then susses out the cause and intervenes to snap Swamp Thing out of his stupor.  Swamp Thing initially came to Metropolis to talk to Superman and ask him about the how to cope with his powers and the fear of those same powers robbing him of his humanity.  Superman is pretty harsh, albeit fair, and lays down some very harsh truths.  There is, however, a note of optimism at the end of his sermon that might just be what will redeem Swamp Thing.  Charles Soule, with Kano’s awesome art, really spins a beautiful Swamp Thing yarn that seems to wrap up in a two issue mini-arc.  The final page of the issue seems to be the start of an interesting new development to take us into Soule’s second, semi-connected story arc. I greatly anticipate it.

    Wisdom of Superman

    Wisdom of Superman

  • Earth 2 #12 concludes the introduction of Doctor Fate.  Khalid Ben-Hassin has fought for years the influence of Nabu and falling under the thrall of the ancient mage as well as that of his totem, the helmet of Fate.  No more.  Last issue Khalid accepted his destiny and donned Fate’s helmet becoming Doctor Fate.  Now he and Nabu’s ancient foe, Wotan, go head to head for the first time in centuries in a blaze of sorcery and hexes over the skies of Boston.  Meanwhile in China, Alan Scott (Green Lantern) and  Kendra Munoz-Saunders (Hawkgirl) investigate the death of Alan’s lover, Sam.  In Macau they find storage containers at the docks full of decaying parademon corpses neatly stacked within.  The plot thickens as the question is raised as to what they are doing there and how do they fit into Sam’s murder.  This is put on hold as Green Lantern is drawn to Boston by his ring to aid in the relief effort of the magical battle.  Writer James Robinson really is sewing up the plot of this book by moving individual storylines forward, such as Alan’s investigation of Sam’s murder and the fallout of the Apocalypse invasion years prior, while at the same time introducing exquisitely new characters like Khalid’s Doctor Fate and folding them into the plot.  By issue’s end, Flash, Green Lantern, and Fate are brought together just in time for another plot point Robinson is skillfully sewing back into the main plot: Steppenwolf.  With this issue the world has learned that Darkseid’s uncle and one of the most dangerous men in the multiverse is being harbored, as well as ruling, the independent republic of Dherain.  There is a great deal afoot at present and Robinson has given himself a very advantageous position plot-wise to move forward from.  I very much look forward to future installments of this series, especially since Mister Miracle and his wife, Big Barda, are also in the offing.  Nicola Scott’s art on this series is another aspect not to be missed, especially when given such round and incredible characters to depict.
  • Worlds’ Finest #12 begins a dark chapter in the journeys of Power Girl and Huntress.  Picking up from last issue we find that the newly returned Michael Holt is in fact Desaad, torturer to Darkseid and one of Apokalips’ most dangerous New Gods.  He attacks Helena and Karen, but when they defend themselves and return his assaults, they discover that Desaad still has an illusion over himself that keeps people seeing him as Michael Holt, upright business mogul and scientist, and the two superheroines as thugs who are attacking him for seemingly no reason.  That discovered, they are forced to beat a hasty retreat and re-assess the situation.  However, Desaad is a creature that operates on many fronts.  Starr Industries (run by the disguised Power Girl) begins to drop in its stock value and have its top researches wooed away to other companies, and one of their top research facilities explodes.  However, this is not the most shocking thing that happens in this issue.  Paul Levitz is a genius.  This series is one of his crowning achievements.  The plot segues so nicely into a bookend for the above mentioned Earth 2, following exiles from that world in ours and showing how their odyssey is tied into the events happening concurrently on their homeworld.
  • The Movement #1 was a bit of a disappointment.  I was eagerly anticipating it due to its penning by master comic writer Gail Simone, but unfortunately Simone doesn’t live up to her reputation here.  Perhaps its the premise of the piece.  Set as a “point/counterpoint” piece with the new title The Green Team, this book and its sister series are supposed to be comics representing the 99% and the 1% of America and their place in the DCU.  The product is super-trite.  Elements of social commentary can come into comics effectively when done in thought provoking ways, but this blatant attempt to force the issues seems really forced and uninspired.  I could bemoan it much more, but I will stop.  I couldn’t find anything redeeming to say about it.  A shame that it couldn’t do what it set out to do, but in my opinion it fell flat.  I will read The Green Team, but I assume it will also fall flat.
  • Phantom Stranger #8 is an apocalyptic issue insofar as it features the “death” of the Stranger (something few even thought possible) and in his death reveals what has really been happening in the past several issues.  Issues #0, 1, and 2 key us into the Stranger’s role as a betrayer and agent of transcendental neutrality.  The last six have followed the Stranger’s attempt to locate his kidnapped wife and children.  This issue gives resolution as to what did happen to them and who was behind their abduction, but even more intriguing is the revelation of how the Phantom Stranger, the most asexual, ambivalent being in the universe, could come to have a wife and kids.  Philip Stark and his family existed before the Phantom Stranger entered into any of their lives and in point of fact, his co-opting of them and Stark’s life create a poignant, humanizing moment for him.  Dan Didio and co-writer J.M. DeMatteis have created an incredible series that has taken the concept of the Phantom Stranger and not only made him relatable to readership, but actually sympathetic.  When we have seen him briefly here and there in the past decade or so, it has often times been him heralding a crisis and then making matters more difficult than necessary for the heroes involved.  In this series we have seen that representation unchanged, but we also see how he is forced to do these things and the demons and displeasures they engender in his metaphorical heart (which DOES exist).  The series has been phenomenal , but issue #8 stands as a call to arms for readership as to HOW good the series is and has the potential to be in future.  Long story short:  READ IT!
  • Legends of the Dark Knight #8 delivers two more astounding tales of the Dark Knight.  In the first story, entitled “Carved”, writer Paul Tobin and artist Tadd Moore tell the tale of a kidnapper/thief in Gotham who abducts people and objects and replaces them with exact replicas sculpted out of mahogany.  Already there is a great setup for a psychological villain, which is an interesting turn for Batman.  Most of his foes are theatrical, but this one is just a person with deep seated issues, enveloped in a very methodical psychosis.  A fascinating, extremely well written story.  The next one, “Unnatural Selection”, written by Ricardo Sanchez and drawn by Sergio Sandoval also provides a very out of the box, rarely attempted story in the Batman titles.  A series of grisly murders leads the Dark Knight to a cryptotaxodermist’s creation of a Barghest.  Cryptotaxodermy is the creation of mythic animals from the parts of deceased members of its constituent parts, i.e. making a stuffed griffin from an eagle’s head, lion’s body, snake’s tail, etc.  However, how can a stuffed, fictitious creature murder a slew of people throughout Gotham?  The answer is very intriguing and quite fascinating to wrap one’s head around.  This story in particular touched me deeply in how tragic every aspect of it is. Every aspect.  However, both stories were AMAZING!  This series is a crap shoot, sometimes delivering the cheddar and other times falling flat.  I personally would suggest this issue for someone that wants a good reason to begin a long standing love affair with the character of Batman, or simply find out the potential inherent in Batman stories outside of the stereotypes of capes and masks that make up 90% of Batman stories.

And thus wraps the first week of May’s batch of comics.

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

Illustration Credits:

Action Comics #20: Drawn by Tony Daniel, Colored by Tomeu Morey, Inked by Batt

Detective Comics #20:  Art by Jason Fabok, Colored by Jeremy Cox

Green Arrow #20:  Art by Andrea Sorrentino, Colored by Marcelo Maiolo

Batwing #20:  Art by Eduardo Panisca & Julio Ferreira, Colored by Jason Wright

Swamp Thing #20: Drawn by Kano, Colored by Matthew Wilson, Inked by Alvaro Lopez