Review: BLACK LIGHTNING/HONG KONG PHOOEY Special #1

BLACK LIGHTNING/HONG KONG PHOOEY SPECIAL No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Bryan Hill
PENCILS: Denys Cowan
INKS: Bill Sienkiewicz
COLORS: Jeromy Cox
LETTERS: Janice Chiang
EDITOR: Jim Chadwick
COVER: Denys Cowan and Bill Sienkiewicz with Jeromy Cox
VARIANT COVER: Chris Cross with Gabe Eltaeb
48pp, Color, $4.99 U.S. (July 2018)

Rated “T” for “Teen”

Black Lightning created by Tony Isabella and Trevor Von Eeden

“Revenge of the God Fist”

Black Lightning is a DC Comics superhero.  Created by writer Tony Isabella and artist Trevor Von Eeden, the character first appeared in the comic book, Black Lightning #1 (cover dated:  April 1977).  Black Lightning is the civilian, Jefferson Pierce, an African-American school teacher who originally obtains electrical or lightning-based power via technology.  [His origin has since been changed.]  Black Lightning was DC Comics third African-American character, and the first one to star in his own comic book series.

“Hong Kong Phooey” was a half-hour, Saturday morning animated television series produced by Hanna-Barbera Productions. It was broadcast on ABC from September 7, 1974, to December 21, 1974.  The main character was Hong Kong Phooey, an anthropomorphic dog character who fought crime as a martial-arts hero.  He had a secret identity, a clumsy and mild-mannered janitor named Penrod “Henry” Pooch also known as “Penry.”  Hong Kong Phooey and Penry had a pet/sidekick, a striped cat named “Spot,” who was sly and talented.

DC Comics has been re-imagining Hanna-Barbera characters in ongoing comic book series, miniseries, and one-shots and specials since early 2016.  Black Lightning and a re-imagined Hong Kong Phooey are united in the one-shot comic book, Black Lightning/Hong Kong Phooey Special.  It is written by Bryan Hill; drawn by Denys Cowan (pencils) and Bill Sienkiewicz (inks); colored by Jeromy Cox; and lettered by Janice Chiang.

Black Lightning/Hong Kong Phooey Special #1 (“Revenge of the God Fist”) opens in Metropolis in the year 1976.  Here, we find Black Lightning getting beaten up by the supervillain team-up of Professor Presto, Bronze Tiger, and Cheshire.  [Professor Preston a.k.a. “The Malevolent Magician” was a villain that appeared in the original “Hong Kong Phooey” TV series.]

Later, Black Lightning's civilian alter-ego, Jefferson Pierce, is summoned by an old acquaintance, Penry.  When he returned from Vietnam, Penry, the kung fu master who is an anthropomorphic dog, opened his own inner city detective agency.  Penry tells Jefferson a tale of the darkest kind of “wushu magic.”  Generations ago, a monk bound a demon and forced it to teach him the most powerful wushu technique, “the Way of the God Fist” (or “God Fist” for short).  Although he realized how dangerous the God Fist was, the monk did not want it to die with him.  So he made a scroll with the secrets of the God Fist written on it, and he divided that scroll into three sections.  Penry inherited one third of the scroll.

Presto wants to revive the scroll and already has two sections of it, and now, he makes his move against Penry.  Bronze Tiger and Cheshire even attack Rosemary, a friend of Penry's who teaches kung fu.  [Rosemary was a character and friend of Penry in the original animated series.]  Now, Penry leads Black Lightning and Rosemary in a bid to stop Presto from gaining the God Fist and using it to destroy the world.

I have enjoyed some of DC Comics re-imaginings of classic characters from Hanna-Barber animated TV series from the period of the late 1950s to the 1970s.  I really like this re-imagining of “Hong Kong Phooey” via Black Lightning/Hong Kong Phooey Special #1.  I credit some of the success of this comic book to writer Bryan Edward Hill.  I enjoyed his standalone Miles Morales' Spider-Man Annual #1 (2016).  [In fact, I was shocked how much I liked it.]

It is not so much that Black Lightning/Hong Kong Phooey Special #1 features a great story as it is that the story is inventively conceived and executed.  I would go so far as to say that this comic book presents the groundwork for what could be a cool Black Lightning comic book miniseries or series, written by Bryan Edward Hill, of course.

I am also a big fan of both pencil artist Denys Cowan and inker Bill Seinkiewicz.  Separately, Cowan and Seinkiewicz are great artists; together, they make a cool art team.  I like the gritty style they have concocted for this story, which is the perfect visual mood for this 1970s-era kung fu tale.  Colorist Jeromy Cox brings some needed brightness to this story, and veteran letterer, Janice Chiang, perfectly paces this story with her smallish lettering and balloons that somehow make an impact without being obtrusive and showy.

BACKUP STORY:  The Funky Phantom in “Spectre of the Gun”

STORY: Jeff Parker
ART: Scott Kolins
COLORS: Tony Avina
LETTERS: Janice Chiang
EDITOR: Jim Chadwick

The Funky Phantom was a Saturday morning cartoon that was televised on ABC from September 1971 to September 1972.  Produced by Hanna-Barbera Productions, this “Scooby-Doo” knock-off featured three teenagers and their dog who solved mystery with a ghost and his cat.  The ghost was an American patriot named Jonathan Wellington "Mudsy" Muddlemore who died inside a grandfather clock where he was trapped during the American Revolutionary War.

Black Lightning/Hong Kong Phooey Special #1 contains a backup story, “Spectre of the Gun,” a re-imagining of “The Funky Phantom.”  Written by Jeff Parker and drawn by Scott Kolins, this story only uses Jonathan Muddlemore.  The story opens at some kind of gun rights slash Second Amendment rally.  The grandfather clock containing Muddlemore's skeleton is on stage, and Jason Blood (also known as “The Demon”), summons Mudsy's spirit from the skeleton.  So how will this former American rebel, soldier, and patriot react to this new world of modern gun rights?  Hilarity ensues.

There is nothing special about Kolins art or Tony Avina's coloring of it.  Even Janice Chiang's lettering does not stand out.  None of it is bad work; it just is not particularly special.

However, Jeff Parker's story is an excellent bit of satire, and I must commend Parker for the intensity in which he skewers gun rights extremists.  His disdain for people who insist that the United States Constitution grants them the right to posses military-style weapons is also admirable and brave.  Among comic book fandom is a strain of reactionary and right-wing extremism, sexism, and racism that has been vocal enough to scare some comic book creators and to even get a few creators dismissed from assignments (Chuck Wendig, to name one).

I am a fan of Jeff Parker and have immensely enjoyed quite a bit of his work.  “Spectre of the Gun” is the cherry on top of Black Lightning/Hong Kong Phooey Special #1's chocolate, kung fu ice cream sundae.  I wish DC Comics could serve up another sundae of this type.

9 out of 10

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


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: JUSTICE LEAGUE OF AMERICA #1

JUSTICE LEAGUE OF AMERICA #1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

WRITER: Bryan Hitch
PENCILS: Bryan Hitch
INKS: Daniel Henriques with Wade von Grawbadger and Andrew Currie
COLORS: Alex Sinclair with Jeromy Cox
LETTERS: Chris Eliopoulos
COVER: Bryan Hitch with Alex Sinclair
VARIANT COVERS: Bryan Hitch with Alex Sinclair; Howard Porter with Hi-Fi (Joker 75th Anniversary Cover)
56pp, Color, $5.99 U.S. (August 2015)

Rated “T” for “Teen”

“Power and Glory”

The Justice League is DC Comics' ultimate superhero team.  Conceived by Gardner Fox, the team first appeared in The Brave and the Bold #28 (cover dated: March 1960).  The Justice League received its own comic book series, Justice League of America (cover dated: October 1960), which is the name by which the team was known for decades.  The name “Justice League” was emphasized as a comic book title beginning with the debut of Justice League #1 (cover dated: May 1987).

The name Justice League of America (or “JLA”) returns bigger and badder than ever in the new “DCYou” series,  Justice League of America.  It written and drawn by Bryan Hitch; inked by Daniel Henriques (with Wade von Grawbadger and Andrew Currie); colored by Alex Sinclair (with Jeromy Cox); and lettered by Chris Eliopoulos.

Justice League of America #1 (“Power and Glory”) opens with the destruction of Earth and the death of Superman.  Say what?!  Superman has been summoned to The Infinity Corporation in New York City.  There, he meets Alexis Martin and an arrogant, self-declared genius named Vincent.  They have shocking news about the fate of existence and its connection to Superman.

Meanwhile, something powerful and hungry is spirited from “The Maw,” the super-max prison in Metropolis.  This creature will give Wonder Woman, Green Lantern, Flash, Batman, and Cyborg all they can handle and more.  Also, Aquaman has a date with a god in Atlantis.

In StormWatch Volume 2 #4, Bryan Hitch and writer Warren Ellis unleashed “widescreen comics” on American superhero comic book readers.  The costumed super-powered people were big.  The action was bigger, and the destruction was massive.  Bryan Hitch, obviously influenced by fellow British comic book artist, Alan Davis, took Davis stylish compositions and lush brushwork and made it heavy.  It was like Davis pumped up on P.E.D.s (performance enhancing drugs).  Ellis's big stories and Hitch's double-X-L art made StormWatch, a dumpster, frivolous Wildstorm comic book, an exciting read and a buzzed-about comic book.  Hitch would later bring widescreen to Marvel's The Ultimates, a re-imagining of the Avengers, written by Mark Millar.

Now, Bryan Hitch brings massive widescreen, as both writer and artist, to the Justice League.  Not only is the graphical storytelling in Justice League of America #1 big; the issue itself has 50 pages of story, which is massive compared to today's anemic 20 and 22-page comic books.  And, in a shared victory for both quantity and quality, Justice League of America #1 is worth the $5.99 cover price.

Hitch offers a story that is worthy of both the Justice League as a team and of its individual members.  “Power and Glory” isn't overly complicated, but it offers action in a epic manner that is similar to “Justice League” (2001-2004) Cartoon Network animated series.

I'm excited about Bryan Hitch's Justice League of America, which he apparently has been working on for more than a year before the series debuted.  Over my time of reading comic books, I have been ambivalent about the Justice League, but both Justice League and Justice League of America comic book series have made me more excited about this franchise than I have ever been.

A

Reviewed by Leroy Douresseaux


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

I Reads You Review: GRAYSON #1

GRAYSON #1
DC COMICS – @DCComics

PLOT: Tim Seeley and Tom King
SCRIPT: Tim Seeley
ART: Mikel Janin
COLORS: Jeremy Cox
LETTERS: Carlos M. Mangual
COVER: Andrew Robinson
VARIANT COVERS: Mikel Janin; Jock
32pp, Color, $2.99 U.S. (September 2014)

Rated “T” for “Teen”

Dick Grayson is a DC Comics character best known as the first person to take on the identity of Robin, Batman's kid sidekick.  Robin/Dick Grayson was originally created by Batman's creators, artist Bob Kane and writer Bill Finger, and also artist Jerry Robinson.  Robin debuted in Detective Comics #38 (cover date:  April 1940).

Batman's a junior counterpart, Robin, was known as the “Boy Wonder,” during the first three decades of the character's existence.  The team of Batman and Robin is commonly referred to as the “Dynamic Duo” or the “Caped Crusaders.”  Over time, the men who wrote the Batman comic books depicted Dick Grayson as growing up, even graduating from high school and attending college.  Robin would go on to lead a group of teen characters and sidekicks called the Teen Titans.  Eventually, Dick Grayson relinquished the name Robin and became a new superhero, Nightwing (first appearance in Tales of the Teen Titans #43)

As Nightwing, Dick Grayson has been the star of two eponymous comic book series.  The New 52 version of Nightwing was canceled some months ago.  It was recently replaced by a new comic book series, entitled Grayson, that spins out of DC Comics' 2013-14 crossover event series, Forever Evil (which I did not read).

Grayson #1 finds Dick Grayson in a blond wig.  He is now known as “Agent 37,” and he works for an international spy organization known as Spyral.  Grayson has just hitched a ride aboard the Trans-Siberian Railway, where his target for acquisition is Dubov Ninel.  However, Agent 37 isn't the only one out to get Ninel, and even after he obtains him, there is a new player looking to take what Grayson just obtained.  [SPOILER Alert!]  Enter Midnighter.

I read a preview of Grayson #1 in another comic book (can't remember which one), and that preview intrigued me.  I was excited about the series and visited two comic book stores to find a copy of issue #1.  Having read it I can say that I don't think that I would pay to read Grayson again.

It is not that Grayson is bad.  It is entertaining, and I like the art by Mikel Janin with colors by the always good Jeremy Cox.  It's just that besides an appearance by Midnighter (of Stormwatch and The Authority fame), nothing else about this first issue excited me.  It's good; just not special enough for me to set aside the cash to buy it on a regular basis.  I must say that if I am excited by the guest star in a particular future issue, I might buy that issue.

B

Reviewed by Leroy Douresseaux

The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

I Reads You Review: ROCKETEER ADVENTURES VOL. 2 #1

"More tears than rockets"
ROCKETEER ADVENTURES VOL. 2 #1
IDW PUBLISHING

WRITERS: Marc Guggenheim, Peter David, Stan Sakai
ARTISTS: Sandy Plunkett, Bill Sienkiewicz, Stan Sakai
COLORS: Jeromy Cox, Bill Sienkiewicz, Dave Stewart
LETTERS: Robbie Robbins, Bill Sienkiewicz, Stan Sakai
PIN-UP: Arthur Adams with John Rauch
EDITOR: Scott Dunbier
COVER: Darwyn Cooke (alternate cover by Dave Stevens)
28pp, Color, $3.50 U.S.

First appearing in 1982, The Rocketeer is a superhero created by the late writer/illustrator Dave Stevens and inspired by the Saturday matinee movie heroes of the 1930s and 1940s. Set mainly in Los Angeles in and after the year 1938, the series follows Cliff Secord, a stunt pilot who discovers a mysterious jet pack that allows him to fly, leading to the birth of The Rocketeer.

After a long absence from comics, The Rocketeer returned last year in Rocketeer Adventures. This four-issue miniseries was an anthology comic book edited by Scott Dunbier and published by IDW Publishing. Rocketeer Adventures features Rocketeer short stories (about 7 to 8 pages in length) from some of the premiere creators in American comic books. Now, the fun is back in Rocketeer Adventures Vol. 2.

Rocketeer Adventures Vol. 2 #1 opens with “The Good Guys,” story by Marc Guggenheim and art by Sandy Plunkett. While the wounded Rocketeer slumbers in a bed on the second floor of a farmhouse, the locals discuss his fate: turn him over to the law or not. But a child shall lead them. Peter David gives the Rocketeer a Looney Tunes spin in “The Ducketeer,” with art by Bill Sienkiewicz, who executes a graphic riff on Chuck Jones and Maurice Noble. Stan Sakai takes the Rocketeer to a small-ville and the Rocketeer takes a kid up, up, and away in “A Dream of Flying.”

Rocketeer Adventures Vol. 2 starts off nostalgic and quaint with this first issue. The stories are sweet and sentimental, with in-jokes for comic book and cartoon fans. These pop culture references and riffs will make even the most jaded pop culture buff smile.

Marc Guggenheim’s tale (“The Good Guys”) treads on familiar territory. Are there enough good people to fight evil and what is the nature of vigilantism are two real-world questions with which this story grapples. Guggenheim’s story is timely in light of a FOX News affiliate in Orlando, Florida referring to Neo-Nazi group, the National Socialist Movement, as a civil rights group, something the FOX News website later repeated.

This story is also a welcomed return of seldom-seen comic book artist, Sandy Plunkett, whose style is ideal for this old-timey, rural pastoral story. Like Rocketeer creator, Dave Stevens, Plunkett is apparently also influenced by the American book and magazine illustrators of the late 19th and early 20th centuries.

That aside, these new Rocketeer comic books are rapidly becoming showcases for artists that don’t regularly produce comic book art. These stories are also too sentimental, and, as much as I enjoy a dose of “Disneyana” with my comics, The Rocketeer’s origin comes out of adventure movie serials. This character needs to bust out in a miniseries – one complete with cliffhanger endings at the end of each issue. New Rocketeer comics should not be treated as if they are part of a eulogy to Stevens. All this pretty art and quaintness makes Rocketeer Adventures seem like a funerary item.

I appreciate the new Rocketeer comics, but they can be more than what they are. I must admit, of course, that I think the Art Adams pin-up is awesome.

B+