#IReadsYou Review: BATTLE CHASERS ANTHOLOGY

BATTLE CHASERS ANTHOLOGY

IMAGE COMICS

STORY: Joe Madureira and Munier Sharrieff

PENCILS: Joe Madureira; Adam Warren

INKS: Tom McWeeney with Joe Madureira; Adam Warren

COLORS: Liquid!; Christian Lightner; Aron Lusen; Ryan Kinnaird

LETTERS: Richard Starkings & Comicraft

COVER: Joe Madureira with Grace Liu

ISBN:  978-1-5343-1522-8; paperback (September 25, 2019)

32pp, Colors, 24.99 U.S.

Rated “T/ Teen”

Battle Chasers created by Joe Madureira

Battle Chasers is an American fantasy comic book series created by artist Joe Madureira.  Launched in April 1998, the series was sporadically published for nine issues over a period of a little over three years.  Battle Chasers #1 to #4 (cover dated: April to October 1998) were published by Image Comics' studio, Wildstorm Productions, via its “Cliffhanger” imprint.  Issues #5 to 8 (cover dated: May 1999 to 2001) were published by DC Comics via Wildstorm Productions and its “Cliffhanger” imprint.  The series returned to Image Comics for Battle Chasers #9 (cover dated: September 2001).  Although there was some art produced for a Battle Chasers #10, the issue was never published.

Well, Battle Chasers #10 finally arrives June 14th, 2023 (at least 21 years late) albeit with new series artist.  So I decided to go back and reread the original run, and there is a handy way to do that.

Battle Chasers Anthology, originally published in September 2019, collects every Battle Chasers comics story.  That includes Battle Chasers #1 to 9; the eight-page story from Battle Chasers Prelude (cover dated: February 1998); the 10-page story published in Frank Frazetta Fantasy Illustrated (cover dated: Summer 1998); and the Joe Madureira-Adam Warren “Red Monika: Interlude” serial, which was originally published in Battle Chasers #6 and #9.

[This volumes also includes a 21-page sketchbook section; a 10-page pin-up and illustration gallery; and 27-page cover art gallery.]

Battle Chasers takes place in a “steampunk” nineteenth century-type fantasy world.  It focuses on five main characters.  The first is Gully, a ten-year-old girl who possesses a pair of magical gloves left behind by her father, the great warrior, Aramus, who disappeared.  Next is Garrison, a legendary swordsman and grieving widow; he has a powerful magical sword.  Knolan is a powerful 500-year-old wizard.  His companion is Calibretto, a towering “Wargolem,” who is also an outlaw and the last of his kind.

The four join forces to find Gully's father.  They must also stop four extremely powerful villains that were inadvertently released from imprisonment by the fifth main character, Red Monika, a rogue and a voluptuous bounty hunter.  Meanwhile, the legacy of Aramus, the machinations of King Vaneer of the Unified Territories, and the secrets of Knolan begin to poison everything and everyone around them.

THE LOWDOWN:  I was a huge fan of Joe Madureira a.k.a. “Joe Mad” in the 1990s.  I used to call him “the young master” because his talent, abilities, and art seemed to explode every few months into something even better and more beautiful.  I even collected multiple pages of Joe Mad's original art.

So I was ecstatic when his first creator-owned comic book, Battle Chasers, was announced in 1997.  I was so excited about Battle Chasers when it arrived in the spring of 1998 that I also bought one of the variant covers.  I enjoyed the series, but it was a bit hard to follow because … well, because Mad took two and a half years to deliver nine issues.  For instance, there was a 16-month delay between the publication of Battle Chasers #6 (August 1999, DC Comics) and #7 (January 2001, DC Comics).

In the end, Joe Mad abandoned the series to work in the video game industry and went on to co-found a video game company.  Eventually, he did return to Battle Chasers, and Battle Chasers Anthology was published in 2019.

It is through Battle Chasers Anthology that a reader can see how imaginative, inventive, and fun to read Battle Chasers was and is.  Having the series gathered in one book allows a reader to enjoy the series without waiting months or a year-and-half to read each chapter.  The story flows, so the overall narrative comes across as impressive and well-thought out, and except for some wonky names for people, places, and beings and some awkward dialogue, the script writing by Munier Sharrieff is really good.  Engaging plots, interesting character, and surprising cliffhangers make this an exciting and gripping read.  Battle Chasers is a wild gumbo of video games scenarios, Dungeons & Dragons, and anime and manga.  Still, it is original rather than being a pastiche, although on the surface, it might appear to be as such.

To that end, along with the end of his run on Marvel Comics' Uncanny X-Men, Battle Chasers is peak Joe Mad art.  His creature design for this series is still impressive, and there was nothing like it, at least in American comic books, back then.  Battle Chasers' character design is also quite good, simply because none of the lead characters or main supporting and guests character look remotely alike.

Like Tim Townsend did when he inked Joe Mad, Tom McWeeney uses his inks to control the wild energy and eccentricity that showed itself in Mad's comic book art after he left Battle Chasers.  In the 1990s, I thought that there were no better comic book colorists than Liquid Graphics a.k.a. Liquid!  Twenty years later, the studio's work on this comic book still looks amazing.  Even the lettering by Richard Starkings & Comicraft stands out as exceptional – even today.  I'm starting to believe that, in spite of their lateness, Battle Chasers and the other two original Cliffhanger titles were not only peak 1990s mainstream comic books but also a peak in mainstream comic books in general.

I wanted to read Battle Chasers Anthology just in case I decided to read the finally arrived Battle Chasers #10 (Image Comics).  I enjoyed this collection so much that I feel that I have to at least read this new issue.

I READS YOU RECOMMENDS:  Fans of artist Joe Madureira and of his former comic book series, Battle Chasers, will want Battle Chasers Anthology.

A

[This volume includes an introduction by Jeph Loeb and an afterword by Joe Madureira.]

[MISC ART: Joe Madureira; Joe Madureira and Tom McWeeney with Liquid!, Joe Maduriera and Alex Garner; Joe Madureira and Vince Russell; Joe Madureira and Richard Starkings; Ed McGuiness and Liquid!; David Finch and Liquid!; Travis Charest and Richard Friend; Ed McGuiness and Jason Martin with Justin Ponsor; Travis Charest and Richard Friend with Liquid!; Joe Chiodo; Adam Warren with Liquid!; Humberto Ramos and Sandra Hope with Liquid!; J. Scott Campbell and Richard Friend with Liquid!.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"

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#IReadsYou Review: JUSTICE LEAGUE OF AMERICA: The Tornado's Path

JUSTICE LEAGUE OF AMERICA: THE TORNADO'S PATH
DC COMICS

STORY: Brad Meltzer
PENCILS: Ed Benes
INKS: Sandra Hope
COLORS: Alex Sinclair
LETTERS: Rob Leigh
EDITORS: Eddie Berganza (original); Bob Harras (collection)
COVER: Michael Turner with Peter Steigerwald
MISC. ART: Ed Benes with Alex Sinclair; Ed Benes and Maria Benes with Alex Sinclair; Michael Turner with Peter Steigerwald; Phil Jimenez and Andy Lanning with Jeremy Cox; Chris Sprouse and Karl Story with Alex Sinclair; J.G. Jones with Alex Sinclair; Art Adams with Alex Sinclair; Adam Hughes; Ed Benes; Gene Ha; Luke McDonnell; George Perez; Howard Porter & Drew Geraci; Eric Wright; Kevin Maguire with Alex Sinclair
ISBN: 978-1-4012-1580-4; paperback (August 2008)
144pp, Color, $17.99 U.S., $21.99 CAN

Justice League of America created by Gardner Fox

Introduction by Damon Lindelof

The Justice League of America is a DC Comics team of superheroes.  The team was conceived by writer Gardner Fox in the late 1950s as a then modern update of the 1940s superhero team, the Justice Society of America.  The Justice League of America's original line-up of superheroes was comprised of Superman (Clark Kent), Batman (Bruce Wayne), Wonder Woman (Diana Prince), The Flash (Barry Allen), Green Lantern (Hal Jordan), Aquaman (Arthur Curry), and the Martian Manhunter (J'onn J'onzz).  This group first appeared together as the Justice League of America in the comic book, The Brave and the Bold #28 (cover dated: March 1960).

The team received its own comic book title entitled Justice League of America, beginning with a first issue cover dated November 1960.  Justice League of America #261 (cover dated: April 1987) was the series' final issue, and a new series, simply titled Justice League, began with a first issue cover dated May 1987.  The title, “Justice League of America,” would not be used for an ongoing comic book series for almost two decades.

After the events of the event miniseries, Infinite Crisis, Superman, Wonder Woman, and Batman reformed the Justice League of America as seen in Justice League #0 (cover dated: September 2006).  The kickoff of a new Justice League of America ongoing comic book series was under the guidance of writer Brad Meltzer and pencil artist Ed Benes.  The rest of the creative team was comprised of artist Sandra Hope (inks); colorist Alex Sinclair; and letterer Rob Leigh.

DC Comics reprinted Meltzer and Benes' Justice League of America issues #1 to #7 (cover dates: October 2006 to May 2007) in the collection, Justice League of America: The Tornado's Path.  It was released first in a hardcover edition in June 2007, and was later released in its first paperback edition in August 2008.

Justice League of America: The Tornado's Path begins with a framing sequence.  It depicts Superman, Wonder Woman, and Batman's mission to build a new Justice League of America.  Elsewhere, dark forces have gathered to take down a longtime member of the League.

John Smith, the robot superhero known as “Red Tornado,” is about to get a new lease on life.  With the help of Deadman and Dr. Will Magnus (creator of the Metal Men), John is going to transfer his “soul” into a duplicate body of the recently deceased metahuman, Multiplex.  The duplicate or clone is brain dead.  By becoming a flesh and blood human, Red Tornado believes that he can become a real husband to his wife, Kathy Sutton, and to their adopted daughter, Traya.  However, a conspiracy led by some of the Justice League's most powerful and evil adversaries has other plans for Red Tornado and for the new Justice League of America.

THE LOWDOWN:  I remember, lo those many years ago, what big news it was that bestselling novelist, Brad Meltzer, would be the writer that would help launch (or relaunch) a new Justice League of America comic book series.  Meltzer had already wowed fans and courted some controversy just a few years earlier with his DC Comics event comic book miniseries, Identity Crisis (2004-05).

Meltzer's opening Justice League of America story arc, “The Tornado's Path,” lived up to the anticipation.  For one thing, the Red Tornado/John Smith's situation was just so tragic.  Sure, the idea of his soul being transferred into the brain dead clone body of a dead man was (and is) super-gross.  Still, Metltzer made me feel that Smith's journey was honest and genuine.  Also, the villains were damn mean and evil.  Meltzer wasn't trying to do  something similar to what Marvel Comics writers have been trying to do with X-Men character, Magneto, for four decades – turn an evil, racist mass murderer into a tragic Holocaust survivor.  No, the villains that appear in this story arc (and I don't want to spoil their identities for those of you who have not, but should read this story) are evil, lowdown, dirty-ass muthas, and they want to annihilate some JLA ass.

Speaking of the Justice League, I find that Meltzer did not so much give them personalities as he simply wrote an engaging character drama in which he made all the characters interesting.  The characters were equal parts poignant, dramatic, and humorous, but the potential for superhero action-violence was always there.

Artist Ed Benes did some really good work here.  His pencil art, especially under Sandra Hope's inks, was clearly inspired by some of the artists of the late 1980s and early 1990s who founded Image Comics.  However, Benes' graphical storytelling was powerfully dramatic.  He drew costumed characters with broad, muscular, meaty, and thick bodies that filled up the panels with power and the potential for power.  Benes made every threat of or potential for violence feel real.  The contents of each panel were designed and staged for maximum effect.  He gave this story epic power, although “The Tornado's Path” did not feel so much like an epic as it did feel like a consequential moment in the history of Justice League of America comic books.

I don't have much to say about the coloring by Alex Sinclair; his work here is among his lesser achievements.  On the other hand, Rob Leigh's lettering helps to sell the elements of drama, violence, and danger in this story.  I had been putting off reading Brad Meltzer's Justice League of America comics for years, and fortune brought this trade collection into my hands.  I'm glad it did.

I READS YOU RECOMMENDS:  Fans of Brad Meltzer and of the Justice League of America will want to treat themselves to Justice League of America: The Tornado's Path.

A
9 out of 10

[This volume includes additional commentary by Brad Meltzer, Ed Benes, Alex Sinclair, and Sandra Hope.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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#28DaysofBlack Review: Dwayne McDuffie and "Justice League of America: The Injustice League"

[Dwayne McDuffie (1962-2011) left behind a diverse body of work in American comic books, one that emphasized diversity and inclusion. He did so when "diversity" and "inclusion" were dirtier words than they may be to some, now. McDuffie continues to be an inspiration to new voices in American comic books and graphic novels.]

Get #28DaysofBlack review links here.

JUSTICE LEAGUE OF AMERICA: THE INJUSTICE LEAGUE
DC COMICS – @DCComics

STORY: Dwayne McDuffie; Alan Burnett
PENCILS: Mike McKone; Joe Benitez; Ed Benes; Allan Jefferson
INKS: Andy Lanning; Victor Llamas; Sandra Hope; Allan Jefferson
COLORS: Pete Pantazis; Alex Sinclair
LETTERS: Rob Leigh
EDITOR: Brian Cunningham
COVER: Ian Churchill and Norm Rapmund with Alex Sinclair
MISC. ART: Ed Benes and Rod Reis with Alex Sinclair; Ian Churchill and Norm Rapmund with Alex Sinclair; Joe Benitez and Victor Llamas with Pete Pantazis
ISBN: 978-1-4012-2050-1; paperback (June 9, 2009)
144pp, Color, $17.99 U.S., $21.99 CAN

Justice League of America created by Gardner Fox

The Justice League of America is a DC Comics team of superheroes.  The team was conceived by writer Gardner Fox in the late 1950s as a then modern update of the 1940s superhero team, the Justice Society of America.  The Justice League of America's original line-up of superheroes was comprised of Superman (Clark Kent), Batman (Bruce Wayne), Wonder Woman (Diana Prince), The Flash (Barry Allen), Green Lantern (Hal Jordan), Aquaman (Arthur Curry), and the Martian Manhunter (J'onn J'onzz).  This group first appeared together as the Justice League of America in the comic book, The Brave and the Bold #28 (cover dated: March 1960).

The team received its own comic book title entitled Justice League of America, beginning with a first issue cover dated November 1960.  Justice League of America #261 (cover dated: April 1987) was the series' final issue, and a new series, simply titled Justice League, began with a first issue cover dated May 1987.  The title, “Justice League of America,” would not be used for an ongoing comic book series for almost two decades.

After the events of the event miniseries, Infinite Crisis, Superman, Wonder Woman, and Batman reformed the Justice League of America as seen in Justice League #0 (cover dated: September 2006), the kickoff of a new Justice League of America ongoing comic book series under the guidance of writer Brad Meltzer and artist Ed Benes.

After the publication of Justice League of America #12, Dwayne McDuffie became the series new writer.  McDuffie's first story arc was entitled “Unlimited.”  The creative team was comprised of pencil artists: Mike McKone, Joe Benitez, and Ed Benes and inkers: Andy Lanning, Victor Llamas, and Sandra Hope; colorist Pete Pantazis; and letterer Rob Leigh.

The story arc began in the one-shot special, Justice League of America Wedding Special #1 (November 2007) and ran through Justice League of America issues #13 to #15 (November 2007 to January 2008).  Issue #16 (cover dated: February 2008) offered two related stories.  “A Brief Tangent” was written by McDuffie; drawn by Benitez (pencils) and Llamas (inks); colored by Pantazis; and lettered by Leigh.  “Tangent: Superman's Reign” was written by Alan Burnett; drawn by Allan Jefferson; colored by Pantazis; and lettered by Leigh.

The “Unlimited” story was collected in Justice League of America: The Injustice League, which reprints Justice League of America Wedding Special #1 and Justice League of America issue #13 to #16.  The collection was first published first in hardcover (June 2008), and then, as a trade paperback (June 2009).

The backdrop of “Unlimited” is the impending wedding of Oliver “Ollie” Queen, the retired superhero known as Green Arrow, and Dinah Lance known as the hero, Black Canary, the leader of the Justice League of America.  The male members of the League are holding a bachelor party for Ollie that is not going as well as expected.  The female members are holding a bachelorette party for Dinah.

Elsewhere, super-villains:  Lex Luthor, The Joker, and Cheetah are forming a new iteration of “The Injustice League,” the evil counterpart of the Justice League, but this version will have the largest roster of villains ever.  Meeting at the “Hall of Doom,” Luthor dubs this new team, “The Injustice League Unlimited,” and they start launching their first attacks against the Justice League.

Soon, at St. Vincent's Hospital in Greenwich Village in New York City, Wonder Woman and Hawkgirl are fighting the new Injustice League's members, Cheetah, Dr. Light, and Killer Frost, while Firestorm (Jason Rusch) is in a hospital bed, gravely injured from his battle with the villains.  Batman and Red Arrow (Roy Harper) find themselves ambushed by The Joker, Fatality, and the Shadow Thief, who have already taken out Geo-Force.

With members of the Justice League falling to its adversaries, the Justice League is outmatched, and its numbers are dwindling.  Lex Luthor, however, is focused on his main target, Superman, and Luthor promises that he has devised a way to finally destroy Superman.

THE LOWDOWN:  Dwayne Glenn McDuffie died on February 21, 2011, one day after his 49th birthday.  McDuffie was a comic book writer, and he was one of the founders of Milestone Media.  This pioneering minority-owned-and minority-operated company created comic books which featured superheroes and other characters that were either African-American or other minorities whose depictions were underrepresented in American comic books.

McDuffie also wrote and produced for television, specifically for animated TV series.  He was a writer-producer for one season of Cartoon Network's “Justice League” (2001-2004) and a writer-producer for its follow-up, “Justice League Unlimited” (2004-2006).  He wrote and/or produced for three iterations of Cartoon Network's “Ben 10” franchise.  McDuffie also wrote several episodes of the animated series, The WB's “Static Shock” (2000-04), which was based on the Milestone comic book series, Static, that McDuffie co-created and co-wrote.

McDuffie may have been one of the most under-utilized talents and under-appreciated and underrated writers during his three-decade career in the American comic book industry.  Since I don't owe anyone anything and because I don't care much about consequences, I can freely say that had Dwayne McDuffie been a white man instead of an African-American, his status as a comic book creator would have been the American comic book industry equivalent of “most favored nation.”

However, much of his creative output was for DC Comics, where the most powerful editorial positions, those that hand out the writing gigs, were held by bigots, racists, and a variety of sexual harassers and abusers.  During his time at Marvel, McDuffie would have encountered much of the same thing, and during the last decade of his life, Marvel editors mainly hired white guys whose work impressed them and their friends outside the job.

Yet, in spite of such obstacles, McDuffie carved out a career telling hugely entertaining stories in comic books.  McDuffie was a traditionalist and largely eschewed the more “adult” and “mature” storytelling modes that began to dominate American comic books in the 1970s.  Yes, McDuffie was a modern writer and his work did feature elements of realism, but he wrote classic fantasy stories of good and evil in which the shades of gray served the plot, characters, and settings.  McDuffie did not write “grim and gritty” for the sake of style or fad.

That can be seen in the comic book, Static, which is a modern and perhaps, “urban contemporary” take on Spider-Man.  Static was a black teen superhero facing typical teen problems, learning to understand his powers, and dealing with the struggle to learn how to be a superhero.  Thirty years before the debut of Static, a white teen, Peter Parker, lived similar experiences in the pages of Marvel Comics' The Amazing Spider-Man.

Justice League of America (Vol. 3): The Injustice League offers “Unlimited,” which is also classic in the sense that it recalls the original Justice League of America series.  By the time, McDuffie started writing Justice League of America, comic books featuring superhero teams were dark in tone, with characters involved in adult relationships and living complicated, messy lives.  “Unlimited” is straight-forward good guy vs. bad guy.  Yes, the characters have rivalries, conflicts, motivations, personality quirks, and goals, but the depiction of that purely serves the central plot.  And it is this: with their backs to the wall, how do the members of the Justice League of America come back from the ass-kicking Lex Luthor, The Joker, and Cheetah and company have given them?

McDuffie's storytelling is efficient and every panel on every page is consequential, and there is no “decompression” filler.  From the beginning of the story, there is enough tension to create anxiety in the reader for his heroes, and I certainly found myself racing towards the end, hoping that things would work out in the end.  Of course, the heroes always (sort of) win in the end, but the best writers of superhero comic books convince readers that this is it – the end of the line for the good guys.  And McDuffie did that in “Unlimited,” seemingly with ease.

“Unlimited's” plot is so engaging that I ignored the inconsistency of the graphical storytelling due to the shifting art teams.  Actually, the artists offer straight-forward storytelling.  Artists Ed Benes, Mike McKone, and Joe Benitez might not be the best comic book artists or draw the prettiest pictures, but they are quite good at superhero comic book storytelling.  In the end, their art tells a fine story with great characters, and comic book fans swear that is what they really want...

And if audiences and editors really wanted great-stories-characters, then, Dwayne McDuffie, teller of fine comic book stories filled with hugely attractive characters, would not have had to wait to the last half-decade of his life for an A-list assignment in comic books.  By the way, those outstanding editorial citizens fired McDuffie from Justice League of America less than two years into his run on the title.

But they could not kill his pride... nor our memories of his work.

I READS YOU RECOMMENDS:  Fans of Dwayne McDuffie will want to treat themselves to Justice League of America: The Injustice League.

A
9 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: THE SILENCER #1

THE SILENCER No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

SCRIPT: Dan Abnett
PENCILS: John Romita, Jr.
INKS: Sandra Hope
COLORS: Dean White
LETTERS: Tom Napolitano
COVER: John Romita, Jr. and Sandra Hope with Dean White
32pp, Color, $2.99 U.S. (March 2018)

Rated “T+” for Teen Plus

The Silencer created by Dan Abnett and John Romita, Jr.

“Code of Honor” Part 1

DC Comics has launched a new superhero comics initiative, “The New Age of DC Heroes,” coming out of its Dark Nights: Metal event miniseries.  This line of comic books will consist of eight new comic book series:  The Curse of Brimstone, Damage, The Immortal Men, New Challengers, Sideways, The Terrifics, The Unexpected, and the subject of this review, The Silencer.

The Silencer is written by co-creator Dan Abnett; drawn by co-creator John Romita, Jr. (pencils) and Sandra Hope; colored by Dean White; and lettered by Tom Napolitano.  The Silencer focuses on a woman who was once an assassin, but now lives a normal life with a normal family.

The Silencer #1 introduces a woman who is super-strong, highly trained, and armed with devastating, stealthy, meta-human abilities.  Once she was “The Silencer,” a virtually invincible assassin.  Now, The Silencer is Honor Guest, a woman who loves her life as wife to her husband, Blake, and as a mother to their young son, Ben a.k.a. “Jellybean.”  However, the arrival of Killbox signals that the “Underlife” lives on and that Leviathan wants Honor back.

I am a fan of artist John Romita, Jr., and he draws some impressive moments in this comic book.  I am a fan of colorist Dean White, and he delivers some candy-coated hues here.  I am a fan of letter Tom Napolitano, and he usually adds some punch to the dialogue and exposition, which is needed here.

Despite an impressive cover, The Silencer #1 is an OK first issue, but there is not much here, beyond the efforts of the graphics creative team, to entice readers to return for a second issue.  The Silencer #1 reads like one of those muscle-bound, big-gun comic books that were almost half of Image Comics' initial input in the early to mid-1990s; think Youngblood, Wetworks, Codename: Strykeforce, etc.

This new age of heroes is new in names only, and is not particularly interesting.

5 out of 10

[This comic book includes a preview of The Immortal Men by Jim Lee and James Tynion IV.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: ALL-STAR BATMAN #5

ALL STAR BATMAN No. 5
DC COMICS – @DCComics

STORY: Scott Snyder
PENCILS: John Romita, Jr.
INKS: Danny Miki, Tom Palmer, Sandra Hope, and Richard Friend
COLORS: Dean White
LETTERS: Steve Wands
COVER: John Romita, Jr. and Danny Miki with Dean White
VARIANT COVERS: Jock; Declan Shalvey with Jordie Bellaire
40pp, Color, $4.99 U.S. (February 2017)

Rated “T” for Teen

Batman created by Bob Kane and Bill Finger

“My Own Worst Enemy” Finale

All-Star Batman is the recently launched Batman comic book that is written by superstar writer Scott Snyder and drawn by superstar artists and hot up-and-coming comic book-drawing talent.  The first story arc, the five-issue “My Own Worst Enemy,” is drawn by John Romita, Jr. (pencils) and Danny Miki (inks); colored by Dean White; and lettered by Steve Wands.

In “My Own Worst Enemy,” Batman and Harvey Dent/Two-Face are on a 498-mile journey to a house, where young Bruce Wayne and young Harvey Dent lived together as almost-brothers for a short while.  Now, Dent wants to go back to that house to find something that will be life-changing for him.  As a threat to keep Batman from interfering, Two-Face has promised to publicly reveal the dark secrets of Gotham's criminal overlords.  Now, Batman and Harvey Dent/Two-Face, with Batman's new partner, Duke, in tow, fight to reach their destination with some of Gotham's most lethal killers on their heels.

All-Star Batman #5 (“My Own Worst Enemy” Finale) opens with Batman and Two-Face practically at the last miles of their destination.  However, Batman is battered and the KGBeast wants to batter him some more, forcing Batman to protect both his and Duke's lives, as well as the life of Two-Face.  Now, Batman must outwit his pursuers and Two-Face, while back in Gotham, Commissioner Jim Gordon and the Gotham City Police Department are just feet away from discovering the secrets of the Batcave.

While I did not always like every issue of Scott Snyder's 2011 to 2016 run on Batman, I do believe that his off-beat storytelling did serve to liberate Batman the character from a 25-year malaise.  This rut resulted because practically every DC Comics editor and most Batman writers chose to follow the tone of Frank Miller's seminal Batman: The Dark Knight Returns.

Snyder made the Dark Knight/Detective less Batman-as-Clint Eastwood and more Batman-as-Bruce Wayne-on-a-mission.  Snyder returned the man to Batman, showing the humanity in the hero.  Snyder carried that over into All-Star Batman, where Snyder depicts a Bat-Man in stories that are action-thrillers.  All-Star Batman's tone and graphic aesthetic is almost like the “wide screen” action of Warren Ellis and Bryan Hitch's The Authority from the 1999-2000.  However, in All-Star Batman, Snyder cops the edgy, speedy, thrill-ride, action movie aspect of Chris Nolan's “The Dark Knight” trilogy, especially 2008's The Dark Knight.

Of course, Snyder needs a graphical storyteller and comic book artist that can pull that off.  John Romita, Jr. does big.  He does edgy.  He does kick-ass.  Here, Romita is cinematographer, designer, art director/set decorator, and stage director.  Danny Miki's electric inking adds the zing.  And yeah, Dean White is still smashing booty with his coloring.  Even Steve Wands' lettering is explosive.

A

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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Review: SUPERMAN: EARTH ONE Volume Two

SUPERMAN: EARTH ONE VOLUME TWO
DC COMICS – @DCComics

WRITER: J. Michael Straczynski
PENCILS: Shane Davis
INKS: Sandra Hope
COLORS: Barbara Ciardo
LETTERS: Rob Leigh
ISBN: 978-1-4012-3196-5; hardcover (October 2012)
136pp, Color, $22.99 U.S., $26.99 CAN

Superman: Earth One re-imagines various Superman stories, setting them on a new Earth with an all-new continuity. Superman: Earth One Volume Two is the second in this series of original graphic novels that depict the early years of Superman. It is written by J. Michael Straczynski and drawn by Shane Davis, the authors of the first book, Superman: Earth One.

As Superman: Earth One Volume Two opens, 20-something Clark Kent is basking in the glow from the journalistic scoop that earned him a job at the Daily Planet, the top newspaper in Kent’s new home, the city of Metropolis. This “beginner’s luck,” however, has earned him the scrutiny of fellow (rival?) Planet reporter, Lois Lane. Lane is not the only complication. Kent has moved into a new apartment, where he captures the attention of a lusty neighbor, a young woman named Lisa LaSalle, who starts turning his world upside down and inside out. Lisa awakens in Clark feelings and emotions he thought that he had tamed.

Clark is also struggling with how to use his power as Superman. How can he be effective? Can he make sure that he won’t inadvertently hurt any? But Clark isn’t the only man struggling with power. Raymond Maxwell Jensen is a stone-cold killer, but when an accident turns him into a thing called Parasite, he cannot get enough power. Only Superman can stop him, but the cost of stopping a monster for this still-new hero is a level of vulnerability he has never experienced.

Where as Superman: Earth One was like an action movie that introduced a new take on the origin of Superman, Superman: Earth One Volume Two delves into Clark Kent’s character and personality. In fact, writer J. Michael Straczynski approaches every character he places in this story from a personality/motivation point of view, even if he is ultimately vague about motivation.

With an opportunity to build a version of Superman from the ground up, Straczynski seems determined to start with Clark Kent, the man. His new Kent, like practically all the other Clark Kents, keeps secrets. Straczynski’s Kent not only keeps secrets, but he also constructs a life in which he does not stand out. Kent makes no waves and makes sure no one really notices him, so few people will realize that there is even a personality with secrets to keep. Straczynski is clever in the way he writes this new Clark Kent, but sometimes it becomes too anal and detailed. There are a few passages in Superman: Earth One Volume Two that read like fan fiction. This is balanced, however, by wonderful scenes such as the one in which Pa Kent and teen Clark have an awkward conversation about sex that rings with authenticity.

Artist Shane Davis really improves from his work in the first book. His art is not pretty in terms of style, but as storytelling, it is gorgeous. Davis doesn’t alter his style when he needs to switch from romance to drama to action. The way he draws is good for everything, so without theatrics, he authors graphical storytelling that encompasses the human drama of struggling characters and also the theatre of fantastic beings locked in struggle. I don’t think that Sandra Hope’s inking does Davis’ pencils in any favors, but Barbara Ciardo’s colors augment the subtle intensity of Davis’ art.

Superman: Earth One Volume Two is more about the man than it is about the Superman. Superman does his super things, of course, but this new version of Superman wants to dig deeper into the myth and mythology that is the Man of Steel.

A-

Reviewed by Leroy Douresseaux

Albert Avilla Reviews: Justice League #12

Justice League #12
DC Comics

Reviewed by Albert Avilla

Writer: Geoff Johns
Pencils: Jim Lee, Ivan Reis, Joe Prado, David Finch
Inks: Scott Williams, Sandra Hope, Jonathan Glapion, Mark Irwin, Matthew Banning, Rob Hunter, Joe Weems, Alex Garner, Trevor Scott

The Graves storyline comes to a conclusion. We learn that the spirits of the League's loved ones are really spiritual parasites called Pretas, and with their help, Graves starts to take the League down. Steve Trevor frees himself despite being on the edge of death to help the most powerful heroes on Earth. Once Trevor shows up the League realizes that they are not fighting the spirits of their loved ones. The League uses teamwork to defeat Graves; they are becoming the team that we expected.

This is a very eventful story. Green Lantern decides to quit the team as a sacrifice to protect the team's image. It is a sign of the times when you risk your life to save the world, and you have to consider how you are perceived by others while doing it. Green Lantern plays it off like it’s not a major concern, but we know how important the League is to him.

The major bombshell dropped on us is The Kiss. I glad the cover wasn't just sales hype. Superman kisses Wonder Woman in a moment of shared loneliness and understanding of how much they have in common. There will be debate about who kissed whom, but that is not the purpose of this review. Is it a moment of weakness or the beginning of the affair that will rock comicdom? I hope it is not a hook up; I couldn't live with the drama of Wonder Woman being Superman's baby mama. They are both young people, and everyone should have that passionate relationship that burns hot and quickly. It would be shocking if this actually leads to something meaningful. There is definitely story potential here. The New 52, what are you going to do? Blow the roof off the mother or shoot blanks?

All that needs to be said about the art is Jim Lee.

I rate Justice League #12 Buy Your Own Copy.

Review: SUPERMAN: EARTH ONE (OGN)

SUPERMAN: EARTH ONE
DC COMICS

WRITER: J. Michael Straczynski
PENCILS: Shane Davis
INKS: Sandra Hope
COLORS: Barbara Ciardo
LETTERS: Rob Leigh
ISBN: 978-1-4012-2468-4; hardcover
136pp, Color, $19.99 U.S., $23.99 CAN

Superman: Earth One is a graphic novel series that re-imagines and retells Superman’s early years. Written by J. Michael Straczynski and drawn by Shane Davis, the first volume of Superman: Earth One was first published in October 2010. It is a damn good read, and I consider it to be the best retelling of Superman’s early days since John Byrne’s still-excellent, Superman: Man of Steel.

Superman: Earth One focuses on a 20-year-old Clark Kent. This farm boy arrives in Metropolis, but he isn’t like other 20-somethings looking to begin their adult lives. Clark can fly, see through walls, and burn objects with his gaze. He goes on job interviews, and leaves his potential employers in shock and awe because of his talent, knowledge, and skills. Still, young Clark is alone and without purpose, but the arrival of otherworldly visitors will reveal his history and may give him purpose – if he so chooses.

I don’t want to say more about the plot and story details. I want the reader to be delightfully surprised over and over again as I was. I initially avoided reading about Superman: Earth One, partly because I thought it would be mildly entertaining, nothing more and certainly not worth my time. I used some Leroy mojo and got DC to give me a review copy, and the review copy put some hoo doo on me. After the first few pages, I really thought that this was just warmed over Smallville, but soon, I was dreading that this fun would end. I think Superman: Earth One does falter early on and in places at the end, but its strengths gloss over such imperfections.

J. Michael Straczynski gives everything about Superman and Clark Kent a sense of purpose and meaning. This is indeed a darker Superman, but not in a grim and gritty or cynical way. Clark Kent lives in a world where people use power, aggression, and self-centeredness to serve their ends. Young Kent is not only trying to figure out what he should do, but also why he should do it. He is looking for signs, but those signs most resonate with him. Plus, Straczynski writes a page-turning action yarn here, so this is thoughtful and explosive.

Shane Davis, who seems to be channeling Carl Potts-era Jim Lee, turns Straczynski’s script into a visually potent comic book. Davis captures Kent’s brooding, stubborn nature with clarity, and presents the science fiction elements and action scenes with energy, a sense of movement, and power that the static images of comic books usually don’t have.

Superman: Earth One is the Superman book that everyone who reads Superman should be reading. Or put it this way: if you know about Superman, you probably need this book in your hands.

A-

Reviewed by Leroy Douresseaux

I Reads You Review: JUSTICE LEAGUE #6

"The Jim Lee Project"
JUSTICE LEAGUE #6
DC COMICS

WRITER: Geoff Johns
PENCILS: Jim Lee
INKS: Scott Williams with Sandra Hope, Batt, and Mark Irwin
COLORS: Alex Sinclair with Tony Avina and Hi-Fi
LETTERS: Patrick Brosseau
COVER: Jim Lee and Scott Williams, with Alex Sinclair
VARIANT COVER: Ivan Reis and Joe Prado with Rod Reis
40pp, Color, $3.99 U.S.

So two months after I read the fifth issue, I finally read Justice League #6 (entitled “Part Six” or Justice League Part Six”). This new Justice League comic book series, launched the last week of August 2011, is essentially the flagship title of “The New 52,” DC Comics’ re-launch of its superhero comic book line, which also began the last week of August 2011.

As the issue begins, seven superheroes: Superman, Wonder Woman, Batman, Aquaman, Green Lantern, The Flash, and Cyborg, who are not part of a team and who are not all friends, have gathered to stop an alien invasion of Earth. Wonder Woman, Aquaman, Green Lantern, The Flash, and Cyborg, in a united front, try to takedown the leader of this invasion, Darkseid. Meanwhile, on Darkseid’s world, Batman attempts to rescue Superman, who is being tortured by Desaad.

For this opening story arc of the new Justice League, writer Geoff John’s offers what is simply just one big battle that allows him to introduce his new version of the Justice League team lineup. It’s a fairly good story, but, it is also really a single-issue (at most, two-issue) story stretched to six issues i.e. trade paperback size.

To be honest with you, dear reader, I am following this series for Jim Lee’s art. When I review issues not drawn by Lee, you better believe that I got those as freebies. Back to Lee’s art: what glorious art it is! Lee summons his inner Jack Kirby by delivering pencil art full of super powers on display and super-beings in motion. Lee brings out the Kirby bat on such delicious splash pages and spreads as the one featuring Wonder Woman stabbing Darkseid in the eye, Superman flying into Darkseid’s midsection, and the Cyborg boom tube explosion. Ahhh, I think I need a cigarette.

A-

There is a Pandora back-up by Geoff Johns (writer), Carlos D’Anda (artist), Gabe Eltaeb (colors), and Sal Cipriano (letters).

I Reads You Review: FLASHPOINT #5

FLASHPOINT #5 (OF 5)
DC COMICS

WRITER: Geoff Johns
PENCILS: Andy Kubert
INKS: Sandra Hope and Jesse Delperdang
COLORS: Alex Sinclair
LETTERS: Rick J. Napolitano
COVER: Andy Kubert, Sandra Hope, and Alex Sinclair
VARIANT COVER: Jose Luis Garcia-Lopez and Rod Reis
40pp, Color, $3.99

In the beginning, I enjoyed DC Comics’ crossover events and would read the entire core limited series and as many of the tie-in titles as I could. I read Crisis on Infinite Earth (1985-86) and most of the tie-in comic books. I read Legends (1986-87) and many of the tie-in issues. I read some of Millennium (1988) and a few of the tie-ins. By the time of Invasion (1988-89), I only felt like spending a little money on the whole event, so I only passively sampled it. Armageddon 2001 (1991) interested me for a few weeks. Since reading a few issues of DC One Million, I have entirely avoided DC’s comic book crossover story arcs, including just about anything that smacked of being an event.

Well, this is a big year for DC Comics, and I find myself coming in on the end of Flashpoint, the biggest comic book crossover event of 2011. For the past few decades, many crossover events have promised to change either Marvel or DC’s fictional universes forever, but Flashpoint seems to be the real deal. When Flashpoint ends, the DC Universe will reboot (DC’s bosses call it a re-launch), and from August 31 to September 28 2011, DC Comics will publish 52 number one issues – the first issues of 52 new comic book series. It’s known as “The New 52.”

Flashpoint, the core miniseries in a massive publishing event, is a five-issue series written by Geoff Johns and penciled by Andy Kubert. As I understand it: Barry Allen/Flash is among a handful of characters who realize that they have awakened in an altered timeline, vastly different from the regular one in which they live. This timeline is called Flashpoint.

As Flashpoint #5 begins, Reverse Flash/Eobard Thawne is triumphant, as everything Flash/Barry Allen tries seems to come up short. Batman/Thomas Wayne comes to the rescue, with Grifter and the Resistance close behind. But only Flash can fix the mess he made – with millions of lives hanging in the balance.

As crossover events go, Flashpoint offers the usual superhero/super-villain spectacle – skirmishes and big cast-of-thousands battles. There’s plenty of exposition in the form of recaps, explanations, back story, exclamations of triumph, premature ejaculation, etc. I think this is the first Geoff Johns scripted comic book that I have ever read… I think.

After reading this, I can understand why Johns’ comics might not be on my must-recall list. Still, the second half of this comic book has a few poignant scenes. Perhaps, these moments of character tenderness and bonding are what make Johns’ reputation with comic book fans.

The art is a mixed bag. I don’t think this kind of event comic, in which action scenes and characters are packed like sardines into small panels are Andy Kubert’s strength. Covers, double-page spreads, splash pages, and pages with big panels are where he thrives, and that is no more evident than here in Flashpoint #5. Kubert’s gorgeous pencil art for the cover shows that almost 20 years later, Jim Lee is still influencing Kubert.

Do you need to read Flashpoint before you start reading “The New 52?” No, you do not.

B-