#IReadsYou Review: SUPERMAN: Year One #3

SUPERMAN YEAR ONE #3
DC COMICS/DC Black Label – @DCComics

[This review was originally posted on Patreon.]

STORY: Frank Miller
PENCILS: John Romita, Jr.
INKS: Danny Miki
COLORS: Alex Sinclair
LETTERS: John Workman
EDITOR: Mark Doyle
COVER: John Romita, Jr. and Danny Miki with Alex Sinclair
VARIANT COVER: Frank Miller with Alex Sinclair
64pp, Color, $7.99 U.S. (December 2019)

Mature Readers

Superman created by Jerry Siegel and Joe Shuster

Book Three

Superman: Year One is a three-issue comic book miniseries written by Frank Miller and drawn by John Romita, Jr.  It is being published in an over-sized softcover format (8 1/2 x 10 7/8) and is part of DC Comics' prestige “DC Black Label” imprint.  Superman: Year One is a retelling of the early life of Clark Kent and of his first year as the superhero, Superman.  The rest of the creative team includes inker Danny Miki, colorist Alex Sinclair, and letterer John Workman.

Superman: Year One recounts how the baby, Kal-El, rockets from the doomed planet, Krypton.  The rockets carries him to Earth, where it crash lands in the bucolic grain fields of Smallville, Kansas.  Kal-El is rescued by a childless couple, Martha and Jonathan Kent, who adopt him and name him, Clark Kent.  After graduating high school, Clark joins the United States Navy and is stationed at the Naval Station at Great Lakes, Illinois.

The rays of the yellow sun around which Earth orbits has made Clark strong and powerful beyond human imagination.  Even holding back, Clark quickly sets himself apart from the other Navy recruits.  A superior officer notices Clark's abilities, which leads to Clark being discharged from the Navy.  Clark has an extensive adventure in and around the underwater city of Atlantis and also dons the familiar costume that he will wear as the superhero, Superman.

As Superman: Year One #3 opens, “the Superman” rescues reporter Lois Lane and fends off an attack by what is apparently U.S. military special forces.  Clark enrolls at Kansas State University where he studies journalism.  Then, he takes his degree to the “city of tomorrow,” Metropolis, and gets a job at its most famous daily newspaper, The Daily Planet, where Lois Lane works.

Clark proves to be a more than capable reporter, but his life in Metropolis will encompass more than journalism.  Metropolis will discover that it has a savior, of sorts, a hero they call “Superman.”  Metropolis' most infamous citizen, Lex Luthor, takes notice and makes his move to control this new hero.  Meanwhile, over in Gotham City, this crime-ridden city's own hero... or vigilante, “the Batman,” is also watching the Superman of Metropolis.

At some point, DC Comics publicly stated that Superman: Year One would now be Superman's official origin story.  I think Frank Miller, Superman: Year One's writer, said that this comic book is set in the universe of his seminal comic book miniseries, Batman: The Dark Knight Returns.

Superman: Year One is certainly a strange new origin story.  Miller's story and script are off-beat and take weird turns on previously established Superman “mythology.”  Superman: Year One #3 is filled with so much over-the-top, hackneyed dialogue, the kind editors would not accept from comic book writers who are not “fanboy gods” or who are not celebrity or celebrated creators.  Honestly, I don't know what to make of Miller's story or script.  There are good moments, moments that make me cringe as a reader, and moments that fall flat, failing to evoke any feelings in me.

The celebrated creator who delivers the best work in Superman: Year One is pencil artist John Romita, Jr.'s.  Stylish compositions, muscular pencil art, and inventive graphical storytelling, Romita takes advantage of the larger than usual size of this comic book (8 1/2 x 10 7/8) to draw a superhero comic book that does not pretend to be anything other than a superhero comic book.  Yet, Danny Miki's inking of Romita's pencils does make Superman: Year One #3, as well as the previous two issues, special.  That is because Miki is an inker above most comic book inking artists.  Miki can ink the fuck out of pencil art, strengthening and accentuating pencil art without overpowering it

Colorist Alex Sinclair delivers radiant hues.  He makes the art shine on the page, almost as if this is the “color rush” version of comic book coloring.  John Workman is simply a great comic book letterer, and he shows why here, as he does everywhere he letters.  Workman also makes Superman: Year One feel special, evening out Miller's eccentricities.

I was hopeful that this series could be a major, definitive Superman comic book series.  On the illustration and graphics side, Superman: Year One makes me yelp a fanboy “Awesome!”  A Superman origin story, however, deserves something more... super on the story side.

7 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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#IReadsYou Review: SUPERMAN: Year One #2

SUPERMAN YEAR ONE No. 2
DC COMICS/DC Black Label – @DCComics

[This review was originally posted on Patreon.]

STORY: Frank Miller
PENCILS: John Romita, Jr.
INKS: Danny Miki
COLORS: Alex Sinclair
LETTERS: John Workman
EDITOR: Mark Doyle
COVER: John Romita, Jr. and Danny Miki with Alex Sinclair
VARIANT COVER: Frank Miller with Alex Sinclair
64pp, Color, $7.99 U.S. (October 2019)

Mature Readers

Superman created by Jerry Siegel and Joe Shuster

Book Two

Superman: Year One is a three-issue comic book miniseries written by Frank Miller and drawn by John Romita, Jr.  It is being published in an over-sized softcover format and is part of DC Comics' prestige “DC Black Label” imprint.  Superman: Year One is a retelling of the early life of Clark Kent and of his first year as the superhero, Superman.  The rest of the creative team includes inker Danny Miki, colorist Alex Sinclair, and letterer John Workman.

Superman: Year One #2 opens at the Naval Station at Great Lakes, Illinois.  Young Clark Kent has left the bucolic grain fields of Smallville, Kansas to join the Navy.  Clark is just another untrained recruit... except that is not quite true.  Kent was born on another planet, the now-destroyed Krypton.  He was carried to Earth in a rocket ship and landed in Earth, specifically Smallville, Kansas where Martha and Jonathan Kent found him and adopted him as their own son.

The rays of the yellow sun around which Earth orbits has made Clark strong and powerful beyond human imagination.  Even holding back, Clark quickly sets himself apart from the other recruits.  But an officer has noticed Clark's peculiar abilities, and so has a denizen of lost Atlantis.  Will Clark's powers land him in trouble in two worlds?

At some point, DC Comics publicly stated that Superman: Year One would now be Superman's official origin story.  I think Frank Miller also said that Superman: Year One is set in the universe of his seminal comic book miniseries, Batman: The Dark Knight Returns.

If Superman: Year One is really the new official story of Superman's early years, it is certainly a strange one.  This comic book series is weird enough to be an attractive read, but I still find myself asking, “So what?!”  What is the point of all this?  What are Frank Miller's intentions?  John Bryne's 1986 miniseries, The Man of Steel, was a reboot of Superman, the character and his history.  It was both a marked departure from and a radical streamlining of all things Superman.  When The Man of Steel ended after six issues, a new, modern Superman emerged.  Superman: Year One seems like an event comics package, and Superman: Year One #2, with all its interesting oddities, does nothing to make the series seem more than a comic book produced by big-name creators.

However, the art, coloring, and lettering are oh-so awesome.  Yes, artist John Romita, Jr.'s storytelling is still clear, offbeat, and, at times, quite dramatic.  Yes, Danny Miki's inking brings a lush brushwork feel to the art.  Yes, Alex Sinclair's colors are radiant, so much so that he seems like the star creator hear.  And yes, John Workman's lettering is monumental as always.  Together, these graphic and illustrative elements crackle with power off the page and to the reader.  The story in this issue may not be great, but the art and graphics are fantastic.  The Atlantis double-page spread and the scenes with the “Kraken” are totally-awesome-dude illustrations in a comic book of awesome art.

I am still hopeful that this series can be a major, definitive Superman comic book series.  After all, Batman: Damned #3 redeemed the first two issues of that series.  I will certainly recommend Superman: Year One #2 because you, dear reader, will want to see the impressive art in it.

7 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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#IReadsYou Review: SUPERMAN: Year One #1

SUPERMAN YEAR ONE No. 1
DC COMICS/DC Black Label – @DCComics

[This review was originally posted on Patreon.]

STORY: Frank Miller
PENCILS: John Romita, Jr.
INKS: Danny Miki
COLORS: Alex Sinclair
LETTERS: John Workman
EDITOR: Mark Doyle
COVER: John Romita, Jr. and Danny Miki with Alex Sinclair
VARIANT COVER: Frank Miller with Alex Sinclair
64pp, Color, $7.99 U.S. (August 2019)

Mature Readers

Superman created by Jerry Siegel and Joe Shuster

Book One

Superman: Year One is a new three-issue comic book miniseries written by Frank Miller and drawn by John Romita, Jr.  It is published in an over-sized softcover format and is part of DC Comics' prestige imprint, “DC Black Label.”  Superman: Year One is a retelling of the early life of Clark Kent and of his first year as the superhero, Superman.  The rest of the creative team includes inker Danny Miki, colorist Alex Sinclair, and letterer John Workman.

Superman: Year One #1 opens on Krypton on the last day of its existence.  While the planet convulses in its death throes, a Kyrptionian man and woman send their infant son, Kal, off in a rocket ship to Earth.  There, under the Earth's yellow sun, Kal will more than thrive, and a human couple, Martha and Jonathan Kent, will make him their son, Clark Kent.

From the destroyed planet of Krypton to the bucolic grain fields of Kansas, this first chapter tracks Clark Kent's youth in Smallville.  He struggles to understand the nature of man and seeks to find his place in his adopted world.

If I remember correctly, Superman: Year One was meant to be the inaugural “DC Black Label” series and was supposed to debut sometime last year in the late summer or early fall.  [Batman: Damned became the first DC Black Label publication.]  DC Comics recently stated that Superman: Year One is to be Superman's official origin story.  I think Frank Miller also said that Superman: Year One is set in the world of his seminal comic book miniseries, Batman: The Dark Knight Returns.

All that aside, I find Superman: Year One intriguing.  There is a section of a line in the promotional material for Superman: Year One #1 that says “...the first chapter of SUPERMAN YEAR ONE tracks Clark Kent's youth in Kansas, as he comes to terms with his strange powers and struggles to find his place in our world.”  That is not quite accurate.

Writer Frank Miller does depict young Clark Kent finding a place to fit within the micro-world of Smallville High School (the freaks and geeks and outcast kids).  His only struggle is him trying to figure out when he should use his powers on bullies and to what extent he should use those powers.  In this way, Miller recalls the classic Superman character, a man of the people rather than as what he is now:  the greatest superhero of them all who is fighting the greatest threats of them all.  Also, by my reading, Clark does not seem to need to come to terms with his powers.  His powers are not something he doubts or fears; perhaps, he has to come to terms about when and where to use them.

Many previous stories about Superman's youth deal with the development of his powers in a physical context, especially concerning his strength and flight.  Miller delves into the development of Clark's super-powers in the context of his intellect and mental prowess.  Miller's young Clark Kent is thoughtful, but he is also devious and conniving.  It seems as if he is always thinking, learning, and planning, even when he is learning and receiving wisdom and knowledge from his parents, especially from his father, Jonathan.

Artist John Romita, Jr.'s storytelling is clear, offbeat, and, at times, quite dramatic.  I like how he captures the subtleties in Clark's nature and also his secretive side.  I am not quite sure that I like Romita's clear-line drawing style for this comic; Superman: Year One #1 is no where near Romita's best work, although it is better than most other comic book artists' best efforts.  Still, I am glad that super-inker Danny Miki's inking brings a lush, brushwork feel to the art.

Alex Sinclair's coloring pounds the sentimental shit out of this story; without Sinclair's power-hues, this story would, in places, trend toward the nostalgic.  Also, a book that aspires to be important needs an important letterer, and John Workman is a monumental letterer.

So I am happy to report that I am happy that Superman: Year One is off to a fine start.  As I said, I am intrigued, because I had been cynical from the time this project was announced.  Yes, let's see where Superman: Year One goes.  Maybe, it will be worthy of being the definitive origin of Superman.

7.5 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: LIFEFORMED: Hearts and Minds

LIFEFORMED: HEARTS AND MINDS
DARK HORSE COMICS – @DarkHorseComics

[This review was originally posted on Patreon.]

STORY: Matt Mair Lowery
ART: Cassie Anderson
LETTERS: Cassie Anderson
EDITOR: Rachel Roberts
COVER: Cassie Anderson
ISBN: 978-1-50670-937-6; paperback; 6” x 9” (September 20, 2019)
200pp, Color, $12.99 U.S., $17.50 CAN (September 4, 2019 – comic book shops)

Age range: 12; Genre Science Fiction, Action/Adventure

Lifeformed: Hearts and Minds is a 2019 young adult, science fiction graphic novel from authors, writer Matt Mair Lowery and artist Cassie Anderson.  It is a direct sequel to the 2017 original graphic novel,  Lifeformed: Cleo Makes Contact.  Lifeformed follows an 11-year-old orphan and the shape-shifting alien she befriends as they travel the countryside in the wake of an alien invasion... and fight back.

Cleo Elward was a typical 11-year-old girl on the verge of teen brat-hood, when the unbelievable happened.  The sky above her hometown was suddenly filled with strange airships, heralding an alien invasion.  Cleo's loving and doting father, Alex Elward, a single-parent, was killed during first wave of the attack.  Within moments of Alex's death, an alien arrived and approached his corpse.  The alien shifted its form so that it resembled Alex.  This alien shape-shifter, who turned out to be a rebel helped the now-orphaned Cleo escape the invasion by traveling the countryside.  Now, Cleo and alien-dad-Alex survive together and act as a tiny insurgency against an invasion.

Lifeformed: Hearts and Minds finds Cleo, who has fully left behind the life she knew, fighting for the future of Earth. Cleo and Alex now make a fearsome fighting team in a guerrilla war against the invaders, but this duo is actually two complex individuals and personalities, each with his or her own desires.  Alex, with increasing frequency and intensity, is experiencing the real Alex Elward's memories of his daughter and of being a father.  Now, Alex is suddenly more protective of Cleo, but he is also more controlling about their movements and activities, especially of Cleo's.

Meanwhile, Cleo's intelligence and curiosity and developing personality want to explore, regardless of the rules “new daddy” is setting down.  Escaping at night or whenever Alex sleeps, Cleo explores the city to its edges, ducking alien patrols.  Then, she meets a strange alien and a group of “soldier spawns” acting more peculiar than usual.  All the while, Cleo does not know that a recent adversary has returned to stalk her.

Back in early 2018, writer Matt Mair Lowery, the co-author of the Lifeformed graphic novels, contacted me via Twitter.  He offered me a PDF review copy of Lifeformed: Cleo Makes Contact.  I was surprised by his slide into my Twitter DM's, as I had never heard of him or his comic book.

Lowery's outreach turned out to be a good thing.  Lowery and artist Cassie Anderson created in Lifeformed: Cleo Makes Contact one of the best young adult graphic novels that I have read over the past few years.  At the time, it was my duty, not so much as a reviewer, but as a devotee of the comics medium to tell comic book fans and readers how good Lifeformed: Cleo Makes Contact was.

Lifeformed: Cleo Makes Contact's themes of courage and choice resonate throughout the narrative of Lifeformed: Hearts and Minds as much as they did in the original.  Hearts and Minds also focuses on the themes of hope and of offering a helping hand.  In Hearts and Minds, Lowery and Anderson give an intimate view on Cleo's internal struggles and dilemmas and, to a lesser degree, on similar struggles of other characters in the story.  What the authors seem to suggest is that any character totally focused only on what he, she, or it wants ultimately finds despair instead of hope.  Characters that in the end despair cannot offer a helping hand, and, quite frankly, are finally incapable of recognizing help when it is sincerely offered to them.

Cassie Anderson's illustrations and graphical storytelling remain powerfully dramatic.  Anderson is imaginative in her use of color; every page has an unexpected hue that makes the reader take a harder look at the action on the page.  Her lettering emphasizes Lifeformed's quiet and contemplative side, so that, while Hearts and Mind is a science fiction thriller, it is also an exploration of the hearts and minds of the characters.

I hope young readers and mature readers discover the new graphic novel, Lifeformed: Hearts and Minds, and the original, Lifeformed: Cleo Makes Contact.  They're both so f—cking good.

9 out of 10

Lifeformed: Cleo Makes Contact review is here.

Cassie Anderson:
cassieanderson@wwdb.org
https://twitter.com/CassieDoesArt

Matt Mair Lowery:
mattmlpdx@lifeformedcomic.com
https://twitter.com/mattmlpdx
http://www.lifeformedcomic.com

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 syndication rights and fees.

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#IReadsYou Review: DETECTIVE COMICS #1000

DETECTIVE COMICS No. 1000
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

EDITORS: Chris Conroy and Dave Wielgosz
COVER: Jim Lee and Scott Williams with Alex Sinclair
VARIANT COVER ARTISTS: Steve Rude; Bruce Timm; Michael Cho; Jim Steranko; Bernie Wrightson with Alex Sinclair; Frank Miller with Alex Sinclair; Tim Sale with Brennen Wagner; Jock; Greg Capullo with FCO Plascencia
MISC. ART: Mikel Janin; Jason Fabok with Brad Anderson; Amanda Conner with Paul Mounts;
96pp, Color, $9.99 U.S. (May 2019)

Rated “T” for “Teen”

Batman created by Bob Kane and Bill Finger

Detective Comics is an American comic book series published by DC Comics, and it is the longest continuously published comic book periodical in the United States, according to the Guinness World Records.  Its first issue, Detective Comics #1 (cover dated:  March 1937), was published by Detective Comics, Inc., a forerunner of DC Comics.  Detective Comics is best known as the comic book series in which Batman/Bruce Wayne first appeared, in Detective Comics #27 (cover dated:  May 1939).

The first volume of Detective Comics was published from 1937 to 2011 (for 881 issues).  Then, as part of “The New 52” initiative, the series was relaunched in the fall of 2011 with a new Detective Comics #1 (cover dated:  November 2011).  In 2016, after 52 issues of “The New 52” run, Detective Comics reverted to what would have been its original numbering if it had not been relaunched – with Detective Comics #934 (cover dated:  Early August 2016).

March 30, 2019 marked the 80th anniversary of the first appearance of Batman.  Although Detective Comics #27's cover date is May 1937, it apparently debuted for sale March 30, 1939.  Just in time for this Bat-birthday is the arrival of Detective Comics #1000.

To celebrate, Detective Comics #1000 is an anthology (which the series originally was) featuring ten short stories created by an “all-star” list of comic book creators.  It also features a twelve-page preview of Detective Comics #1001 and has three pin-up illustrations.

For this review of Detective Comics #1000, I'll offer a few comments one each story:

“Batman's Longest Case”
STORY: Scott Snyder
PENCILS: Greg Capullo
INKS: Jonathan Glapion
COLORS: FCO Plascencia
LETTERS: Tom Napolitano

Snyder and Capullo have been THE rock star Batman creative team of this decade, but this story, introducing another of Snyder's contrived secret societies, is a misfire.

“Manufacture for Use”
STORY: Kevin Smith
PENCILS: Jim Lee
INKS: Scott Williams
COLORS: Alex Sinclair
LETTERS: Todd Klein

I think this is the first story I have ever read this is about the gun that killed Bruce Wayne's parents, Thomas and Martha Wayne.  I like this slightly imaginative slash inventive tale from filmmaker and sometimes comic book writer, Kevin Smith.  The art is standard Jim Lee Batman art – not Lee's best work, obviously.  The coloring by Alex Sinclair is gorgeous though.

“The Legend of Knute Brody”
STORY: Paul Dini
PENCILS: Dustin Nguyen
INKS: Derek Fridolfs
COLORS: John Kalisz
LETTERS: Steve Wands

This is another good idea turned poorly executed Paul Dini story from Paul Dini.  However, this story has the best Dustin Nguyen art I have seen in quite awhile; maybe Derek Fridolfs' inking helped.  John Kalisz colors are also nice.

“The Batman's Design”
STORY: Warren Ellis
ART: Becky Cloonan
COLORS: Jordie Bellaire
LETTERS: Simon Bowland

The art team of Becky Cloonan and colorist Jordie Belliare produce some attractive art for this story.  Warren Ellis offers a thoughtful examination of how young men can end up as violent, remorseless criminals.  Ellis also presents a rather screwy, oddball version of what mercy from Batman looks like.  This is a nice story.

“Return to Crime Alley”
STORY: Denny O'Neil
ART: Steve Epting
COLORS: Elizabeth Breitweiser
LETTERS: Andworld Design

If any writer deserved to have a spot in Detective Comics #1000, it is classic Batman writer, Denny O'Neil.  His offering for this anniversary comic book features a Batman supporting character, Leslie Thompkins, that O'Neil created with artist Dick Giordano.  This is a powerful, powerful tale starring the one of the few characters who can give both Batman and Bruce Wayne pause.  Steve Epting's beautiful illustrations, Elizabeth Breitweiser's watercolor-like hues, and Andworld Design's lettering make this the best story in Detective Comics #1000.

“Heretic”
STORY: Christopher Priest
ART: Neal Adams
COLORS: Dave Stewart
LETTERS: Willie Schubert

The second best story in Detective Comics #1000, “Heretic,” features art by one of the greatest Batman artists of all time, Neal Adams.  It is set in the world of Ra's al Ghul, a character that Adams had a hand in creating.  Christopher Priest offers a potent tale about the fate of those become ensnared in both Batman and al Ghul's sphere of existence.

“I Know”
STORY: Brian Michael Bendis
ART/COLORS: Alex Maleev
LETTERS: Josh Reed

Okay.  The third best tale in this comic book is Bendis and Maleev's “I Know,” which depicts a confrontation between an aged Bruce Wayne and The Penguin.  This is an edgy tale with a Film-Noir feel, and I really like Maleev's design of each page.

“The Last Crime in Gotham”
STORY: Geoff Johns
ART: Kelley Jones
COLORS: Michelle Madsen
LETTERS: Rob Leigh

This is a nice tale by Johns and Jones.  This isn't Jones' best Batman work, but it is nice, and it is made all the better by Michelle Madsen's (as usual) gorgeous coloring.

“The Precedent”
STORY: James Tynion IV
PENCILS: Alvaro Martinez-Bueno
INKS: Raul Fernandez
COLORS: Brad Anderson
LETTERS: Sal Cipriano

This is a nice, sentimental tale about the importance of Dick Grayson/Robin to Bruce Wayne/Batman.  The art team, the colorist, and the letterer turn in some pretty art.  Brad Anderson's colors are practically radiant.

“Batman's Greatest Case”
STORY: Tom King
ART: Tony S. Daniel and Joëlle Jones
COLORS: Tomeu Morey
LETTERS: Clayton Cowles

Meh.

“Medieval”
STORY: Peter J. Tomasi
PENCILS: Doug Mahnke
INKS: Jaime Mendoza and Doug Mahnke
COLORS: David Baron
LETTERS: Rob Leigh

This is story is basically twelve pages of filler exposition, but the art, colors, and letters are eye-catching.  “Medieval” also offers the preview of a big character debut that is supposed to happen in Detective Comics #1001.

Detective Comics #1000 is, by my estimation, better than last year's Action Comics #1000, which was apparently the bestselling comic book of 2018.  I think many of the creative teams in Detective Comics #1000 are better at capturing the history and characteristics of Batman and his supporting cast, than their Action Comics #1000 equals were with Superman, even if the Batman teams largely fail to tell stories that convey the mystique of Batman.

It took a little over eighty-two years for Detective Comics to get to one thousand issues, so many of the Batman writers, artists, and editors who established the character are deceased.  The shame of it is that many of the people who really deserve to contribute to Detective Comics #1000 are long gone from the world of the living, that includes Batman creators, artist Bob Kane and writer Bill Finger (arguably the greatest Batman writer of all time).

I would replace most of the artists in Detective Comics #1000 with such late luminaries as Carmine Infantino (one of the most important Batman artists of all time), Jim Aparo, Bob Brown, Gene Colan, Sheldon Moldoff, Don Newton, Marshall Rogers, and Dick Sprang, to name a few.  I would brush away almost all the writers who actually appear in this comic book for a number of Batman writers who are deceased, such as John Broome, Gardner Fox, and Frank Robbins, to name a few.

There are quite a few living Batman creators who should have stories here:  writers Mike W. Barr, Gerry Conway, Steve Englehart (a frickin' crime that he is not included here, really) Doug Moench, Grant Morrison, and artists Brian Bolland and Alan Davis, to name a few.  Frank Miller provides a variant cover for Detective Comics #1000, but...  Also, Alan Moore...

But I have learned to take what I get... even when there could be better.  Detective Comics #1000 will be the high-water mark for one-thousandth issues until some other titles reaches a thousandth issue.  Oh, well.

7 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 syndication rights and fees.

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