#IReadsYou Review: THE DARKNESS #1 25th Anniversary Commemorative Edition

THE DARKNESS #1 25TH ANNIVERSARY COMMEMORATIVE EDITION
IMAGE COMICS/Top Cow Productions, Inc.

[This review was originally posted on Patreon.]

STORY: Garth Ennis
PENCILS: Marc Silvestri
INKS: Batt (inking assistants: Joe Weems, Nathan Cabrera, Victor Llamas and various)
COLORS: Steve Firchow
LETTERS: Dennis Heisler
EDITOR: David Wohl
COVER: Marc Silvestri and Batt with Steve Firchow
36pp, Color, $4.99 U.S. (November 2020)

Rated M / Mature

The Darkness created by Marc Silvestri, Garth Ennis, and David Wohl

“Coming of Age”

The Darkness is a long-running comic book series created by artist Marc Silvestri, writer Garth Ennis, and editor David Wohl.  The Darkness focuses on Jackie Estacado, a mafia hit man who inherits “the curse of the Darkness.”  The character made his debut in Witchblade #10 (November 1996) before making his solo debut in his own series.

In celebration of the twenty-fifth anniversary of The Darkness #1 (December 1996), Image Comics and Top Cow Productions, Inc. are publishing The Darkness #1 25th Anniversary Commemorative Edition.  This one-shot comic book reprints the story contents from The Darkness #1 and also includes an interview, an essay, a five-page section reprinting select cover illustrations produced during the series first 16 years, and other material.

The Darkness #1 (“Coming of Age”) opens at night on the Lower East Side of New York City.  Tall, dark, and handsome mafia hit man, Jackie Estacado, has just executed his latest target in service of his boss, Don Franchetti.  This latest bloody move by the Franchetti mob starts a bloody skirmish with rival mobster, Don Tommy Marchianni.  Jackie, Don Franchetti's top enforcer, is caught in the middle.

But the young killer has bigger problems.  He is about to turn 21-years-old, and “The Darkness” is about to start calling for him.  And the “Angelus” is coming for him.

THE LOWDOWN:  I read the first 10 or 12 issues of the original run of The Darkness back in 1996-97, but I eventually grew bored with this comic book and stopped reading it.  I have to admit that I had high expectations for it.  After all, the writer was Garth Ennis, red-hot in the mid-1990s because of his DC Comics/Vertigo series, Preacher.  I was a huge fan of post-Marvel Comics Marc Silvestri.  I thought many the comic books that Silvestri drew for Marvel Comics looked awful because of his chicken-scratch drawing style.  But Image Comics-Marc Silvestri seemed like an entirely different artist, especially when Silvestri's pencils were inked by the great Scott Williams.

Yet every time I read The Darkness, I felt like Ennis and Silvestri were not really delivering on this concept's potential.  I understood that the universe of Silvestri's Top Cow Productions, Inc. was obsessed with some kind of angelic vs. demonic rivalry, similar to that of Jim Lee's Wildstorm Productions universe.  However, I didn't think that Ennis and Silvestri really understood where they could take The Darkness in terms of narrative.  In The Darkness, Ennis delivered a stillborn version of the usual outtakes from his ultra-violence wheelhouse.  Silvestri's art was an unimaginative spin on the grim-and-gritty riffs that everyone was stealing from Frank Miller's Batman comics.

I don't know if The Darkness every reached its potential.  Frankly, I didn't give a crap after I stopped reading the series, but on occasion, I would see an issue of The Darkness and wonder about it … I have to admit.

The Darkness #1 25th Anniversary Commemorative Edition commemorates an anniversary that is only important to Top Cow because … let's be frank … it does not have much to commemorate.  The original Image Comics creators, Marc Silvestri among them, turned their studios into vanity project factories that produced poorly written comic books that featured the kind of art that only the artists and their sycophantic fans thought was great.  This is something that can be said of many of the artists associated with Image Comics first decade, for instance Rob Liefeld and J. Scott Campbell.

It is only in the last 15 years or so that Image Comics has delivered on the promise that the birth of the publisher offered to both comic book creators and readers.  The Darkness represents a placeholder in the evolution of Image Comics.  After the fanfare for their first wave of comic book series faded, some of Image's founders moved on to offering exciting new concepts.  For Jim Lee, it was Divine Right, and for Silvestri, it was The Darkness.  At least, The Darkness ran much longer than Divine Right.

The Darkness #1 25th Anniversary Commemorative Edition, as a package, is nothing special, but – and there is a big but – reading it again did remind me that The Darkness still has great potential.  I enjoyed re-reading this reprint of the first issue, and I might reread a few more of the original issues.  I still think that The Darkness is an outside-the-box comic book concept that could be an exceptional dark fantasy comic book.  But will it ever be that?  Does it matter?

I READS YOU RECOMMENDS:  Fans of Top Cow Productions' comic books will want The Darkness #1 25th Anniversary Commemorative Edition.

6 out of 10

This issue contains the feature “Say Good Night to the 'Good Guy'” by Henry Barajas and Claire Napier.  This feature includes illustrations; an questions-and-answer session with Marc Silvestri and David Wohl; a bullet-point presentation about the publication, licensing, and merchandising success of The Darkness.

This issue also includes a gallery of cover art produced by the following artists and art teams for The Darkness:  Marc Silvestri, Joe Weems, and Peter Steigerwald; Joe Benitez, Joe Weems, and Dean White; Nathan Cabrera and Victor Llamas; Greg Hildebrandt and Tim Hildebrandt; Michael Turner, Joe Weems, and JD Smith; Joe Benitez, Joe Weems, and Richard Isanove; Clarence Lansang, Victor Llamas, and Matt Nelson; David Finch, Jason Gorder, and Matt Nelson; Brian Ching, Victor Llamas, and Matt Nelson; Mark Pajarillo, Danny Miki, and Matt Nelson; Dale Keown and Matt Milla; Lee Bermejo; Dale Keown; Rafael Albuquerque; Todd McFarlane; Jeremy Haun and John Rauch

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


www.topcow.com
https://twitter.com/ImageComics
https://imagecomics.com/


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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#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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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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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: DAMAGE #1

DAMAGE No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

SCRIPT: Robert Venditti
PENCILS: Tony S. Daniel
INKS: Danny Miki
COLORS: Tomeu Morey
LETTERS: Tom Napolitano
COVER: Tony S. Daniel and Danny Miki with Tomeu Morey
32pp, Color, $2.99 U.S. (March 2018)

Rated “T+” for Teen Plus

Damage created by Robert Venditti and Tony S. Daniel

“Out of Control” (Part 1): “Let Loose”

DC Comics is launching a new superhero comics initiative, “The New Age of DC Heroes.”  This line of comic books will consist of eight new comic book series:  The Curse of Brimstone, The Immortal Men, New Challengers, Sideways, The Silencer, The Terrifics, The Unexpected, and the subject of this review, Damage.

Damage is written by co-creator Robert Venditti; drawn by co-creator Tony S. Daniel (pencils) and Danny Miki; colored by Tomeu Morey; and lettered by Tom Napolitano.  Damage focuses on a U.S. Army soldier who is turned into a monster destined to be a weapon of mass destruction.

Damage #1 (“Let Loose”) finds Ethan “Elvis” Avery in a state of transformation aboard a plane, the “Stork-1.”  Ethan doesn't want this transformation because he knows that it will turn him into a living, breathing, ticking time bomb – a monster of which he retains no control.  Ethan will only be in this monster form for one hour, but that is more than enough time for the monster to more than earn his moniker, “Damage.”

I am cynical about the launch of new comic book lines, especially when the Direct Market comic book sales are in free fall, as they reportedly were in 2017.  On the other hand, “The New Age of DC Heroes” is designed and illustrated by a “murders row” of accomplished and popular comic book artists, referred to as “DC's Master Class.”  They are Jim Lee, Andy Kubert, John Romita, Jr., Ivan Reis, Kenneth Rocafort, Philip Tan, Ryan Sook, and Damage artist, Tony S. Daniel.

It is the art and graphical storytelling in Damage that makes this comic book worth a look.  Tony S. Daniel's time at DC Comics has seen him become a highly polished artist, who can draw superhero, action, and fight comics that are good enough to put him in the upper echelon.  His inker is Danny Miki who is in his own master class; Miki could probably ink the pencils of people who can barely draw and turn those pencils into something decent.

The art in Damage #1 is more than decent.  Daniel and Miki deliver strong compositions, potent figure drawing, and detailed backgrounds that are superhero comic book eye candy art.  Colorist Tomeu Morey is always putting more bumps-in-the-coloring-hump, and his coloring here is gorgeous.  Letterer Tom Napolitano throws fonts and word bubbles/balloons like furious punches, and the result is a graphics package that will make people buy Damage #1

Conceptually, Damage seems like a blending of Marvel's The Incredible Hulk, Dale Keown's The Pitt, and Tony Daniel's 1990s Image Comics series, The Tenth.  Damage is not groundbreaking, but, as I said, the artists, colorist, and letterer deliver a graphics package that is so visually attractive that even my cynical self wants more.

7 out of 10

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: DARK NIGHTS: Metal #2

DARK NIGHTS: METAL No. 2
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

WRITER: Scott Snyder
PENCILS: Greg Capullo
INKS: Jonathan Glapion
COLORS: FCO Plascencia
LETTERS: Steve Wands
COVER: Greg Capullo and Jonathan Glapion with FCO Plascencia
VARIANT COVERS: Jim Lee and Scott Williams with Alex Sinclair; Andy Kubert with Brad Anderson; John Romita, Jr. and Danny Miki with Dean White
32pp, Color, $3.99 U.S. (November 2017)

Rated “T+” for “Teen Plus”

Dark Nights: Metal is the current comic book event miniseries from DC Comics.  The series will run for six issues, and will include at least 19 individual tie-in issues.  Some tie-ins will be original one-shots and others will be issues of currently ongoing comic book series (such as Teen Titans and Suicide Squad, to name two).  Two of the tie-ins have already been published, Dark Days: The Forge and Dark Days: The Casting.  The first “Metal” title was published on June 14, 2017 (The Forge) and the final entry in the event (Dark Nights: Metal #6) is scheduled to be published February 14, 2017.

Dark Nights: Metal introduces the “Dark Multiverse,” and is written by Scott Snyder and drawn (pencil art) by Greg Capullo, the creative team behind The New 52 relaunch of the Batman ongoing title.  The rest of the creative team includes inker Jonathan Glapion; colorist FCO Plascencia; and letterer Steve Wands.

Dark Nights: Metal #2 finds the Justice League – Superman, Wonder Woman, Aquaman, Green Lantern (Hal Jordan), Flash, and Cyborg – in hot pursuit of their teammate, Batman.  The Dark Knight Detective, however, is determined to address his crisis on his own and to protect his teammates from the really bad thing that is coming to Earth.  Thus, conflict is born and the League battles Batman.  From the Amazon rain forests to the Valley of the Kings in Egypt, friend fights friend.  Can the Batman and Justice League stop what is coming... what may be destined?

I was not enjoying Dark Nights: Metal #2 quite as much as I did the first issue; then, baby Darkseid shows up, and how can I not love that? Then, there is the killer ending and... the arrival.  I must say that I find the inclusion of Neil Gaiman's Sandman (Daniel? or Morpheus?) to be contrived, but the other guest cameos (Green Arrow, Gorilla City) are quite nice.

Dark Nights: Metal is big, but not bloated, which is what I found Marvel Comics' Secret Empire to be.  Secret Empire has so much stuff going on, more than I wanted to follow, so I didn't read it past the zero issue.  On the other hand, Metal is so is like a streamlined rocket racing in a straight line past omens and portents to the big, freakin' dark arrival.

I think the other thing that is in Metal's favor is that its creative team was The New 52 Batman creative team for the better part of four years.  Thus, Metal actually seems like a continuation of something concrete in the DC Universe, something will not be re-birthed and rebooted away – Snyder and Capullo's Batman.  Metal validates that Batman comic book series, and Batman is the anchor for this big event which might mean something important to the DCU for some time to come.

A
8 out of 10

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


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: Dark Nights: METAL #1

DARK NIGHTS: METAL No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

WRITER: Scott Snyder
PENCILS: Greg Capullo
INKS: Jonathan Glapion
COLORS: FCO Plascencia
LETTERS: Steve Wands
COVER: Greg Capullo and Jonathan Glapion with FCO Plascencia
VARIANT COVERS: Jim Lee and Scott Williams with Alex Sinclair; Andy Kubert with Brad Anderson; John Romita, Jr. and Danny Miki with Dean White
40pp, Color, $3.99 U.S. (October 2017)

Rated “T+” for “Teen Plus”

“Metal”

Dark Nights: Metal is the new comic book event miniseries from DC Comics.  The series will run for six issues, and will include at least 19 individual tie-in issues.  Some tie-ins will be original one-shots and others will be issues of currently ongoing comic book series (such as Teen Titans and Suicide Squad, to name two).  Two of the tie-ins have already been published, Dark Days: The Forge and Dark Days: The Casting.  The first “Metal” title was published on June 14, 2017 (The Forge) and the final comic book (Dark Nights: Metal #6) is scheduled to be published February 14, 2017.

Dark Nights: Metal introduces the “Dark Multiverse,” and this miniseries is written by Scott Snyder and drawn (pencil art) by Greg Capullo, the creative team behind The New 52 relaunch of the Batman ongoing title.  The rest of the creative team includes inker Jonathan Glapion; colorist FCO Plascencia; and letterer Steve Wands.

Dark Nights: Metal #1 finds the Justice League – Superman, Wonder Woman, Batman, Aquaman, Green Lantern (Hal Jordan), Flash, and Cyborg – prisoners of Mongul.  He controls the superheroes via special armor and forces the Justice League to entertain him and a stadium full of Braalians by fighting as gladiators.  Thus far, the League has defeated its opponents, but Mongul is about to introduce newer and more powerful creatures.  The team needs to escape because there is trouble on Earth:  an attack on Gotham City and an ages-old secret on Blackhawk Island – a secret that will shake the foundations of the Multiverse now and forever.

Of course, dear readers, you remember the 2012 film, The Dark Knight Rises, the third film in Christopher Nolan's THE DARK KNIGHT TRILOGY.  [I think Warner Bros. requires that it be written all in caps.]  Every scene and sequence in that film seemed to build to some crescendo – a crescendo that never happened.  Hans Zimmer's score kept pounding and director Chris Nolan kept building his self-important cinematic “masterpiece” until its contrived ending arrives without ever delivering that crescendo.  That movie was like one long, massive, elaborate chicken-choking session without the explosive payoff.

Luckily, Scott Snyder knows how to build his Bat-crescendo, but he does not build towards one big climax.  Dark Nights: Metal is a mystery, thriller, and horror story that uses scenes and sequences to create anticipation – some are loud and big and others are simply tense.  Snyder offers clues and secrets; and the prize is not necessarily a crescendo.  Maybe, Metal finishes with a series of big reveals, and/or maybe, in the end, it adds something new to the DC Comics Universe.

As for artist Greg Capullo, well, we finally get our Capullo-drawn Justice League comic book.  I like that Metal is more like a Justice League comic book than it is like Crisis on Infinite Earths-style event.  Capullo's storytelling feels immediate, tense, and tight like a particularly good Justice League comic book and, once again, less like one of those loud, bloated, out of control company-wide event comic books (say, Marvel's Secret Empire.)

So let's say that Dark Nights: Metal #1 gets it right by creating anticipation rather than exploding in our hands after only three strokes... I mean, three pages.

A
8 out of 10

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


The text is copyright © 2017 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"


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

--------------------

Review: ALL-STAR BATMAN #2

ALL STAR BATMAN No. 2
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Scott Snyder
PENCILS: John Romita, Jr.; Declan Shalvey
INKS: Danny Miki; Declan Shalvey
COLORS: Dean White; Jordie Bellaire
LETTERS: Steve Wands
COVER: John Romita, Jr. and Danny Miki with Dean White
VARIANT COVER: John Romita, Jr. and Danny Miki with Dean White; Jock; Declan Shalvey with Jordie Bellaire
40pp, Color, $4.99 U.S. (November 2016)

Rated “T” for Teen

Batman created by Bob Kane and Bill Finger

“My Own Worst Enemy” Part 2

In my review of the first issue of All Star Batman, I wrote that I found Scott Snyder's run on Batman to be inconsistent, mostly because the story arcs were too long, with some issues within each arc reading like story padding.  Still, Snyder was wildly inventive in his run on Batman; often it seemed as if he were finding ways to advance Batman, a character that was moribund.  For 25 years, most writers of Batman comic books were merely wiping up the vestiges of Frank Miller's bomb, Batman: The Dark Knight Returns.

So here comes the new Batman comic book, All Star Batman.  It is written by Scott Snyder and is currently drawn by John Romita, Jr. (pencils) and Danny Miki (inks); colored by Dean White; and lettered by Steve Wands.  And it is looking like it could be Snyder's best Batman work.

All-Star Batman #2 (“My Own Worst Enemy” Part 2) opens with Jim Gordon and Detective Harvey Bullock about to embark on the raid of a home, an event that will seemingly change their lives as much as it will the owner of the house.  Two days before that raid, Batman and Two-Face/Harvey Dent continue their journey that Two-Face does not want to continue.  A who's who of Gotham's worst criminals and the roster of Batman's rogue's gallery are trying to help Two-Face get his cessation.  Back in Gotham, a trio is going to make a really dangerous decision to “help” Two-Face.  They are going to call on the services of a killer who is an absolute beast.

After reading the first two issues of All Star Batman, I've started to do the dangerous thing and think too much.  I'm thinking that Snyder seems in full bloom writing this series.  It is as if All Star Batman frees him of the expectations, history, and continuity of the flagship Bat-title, Batman.  With this new title, Snyder can do what he wants, and since this is a showcase for the superstars and the up-and-comers, perhaps, editorial will let Snyder run wild.

The result is a Batman comic book that is simply fun to read.  It is action-packed and kick-ass.  The villains are larger than their ordinary fictional lives.  Batman is a Dark Knight, but rather than rehash Frank Miller's Clint Eastwood-Dirty Harry'ish Batman, Snyder offers a Batman with a sly wit that can cut to the bone quicker than his gauntlets and boots can break bones.  This is the Kobe Bryant, LeBron James, Steph Curry Batman – the All Star Batman.  And, hey, we love to pay for all-stars, so this is the Batman comic book you should be reading.

Of course, it is good that there is an all-star art team to bring Snyder's writing to graphical story slash comic book life.  In fact, John Romita, Jr. seems to have gained new life since he moved from Marvel Comics to DC Comics.  Romita is doing his best work since Kick-Ass (with writer Mark Millar), and he is drawing with a lust for life and Miki is inking him with gusto.  Then, White is coloring the fuck out of this comic book.  With this art team, Snyder can't let up.

The back up story, “The Cursed Wheel” continues.  Written by Snyder and drawn by Declan Shalvey.  It is edgy where “My Own Worst Enemy” is big and spectacular, but this second story is holding its own and has a killer cliffhanger.

A

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


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

------------------------

Review: ALL-STAR BATMAN #1

ALL-STAR BATMAN No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Scott Snyder
PENCILS: John Romita, Jr.; Declan Shalvey
INKS: Danny Miki; Declan Shalvey
COLORS: Dean White; Jordie Bellaire
LETTERS: Steve Wands
COVER: John Romita, Jr. and Danny Miki with Dean White
VARIANT COVER: John Romita, Jr. and Danny Miki with Dean White; Jock; Declan Shalvey with Jordie Bellaire
40pp, Color, $4.99 U.S. (October 2016)

Rated “T” for Teen

Batman created by Bob Kane and Bill Finger

“My Own Worst Enemy” Part 1

When I first read The New 52 Batman #1, which was written by Scott Snyder, I found it enjoyable, but I did not think of it as a comic book that I had to follow every month.  I actually preferred The New 52 version of Detective Comics, written and drawn by Tony S. Daniels.  Daniels' run on Detective Comics was over in about a year, while the Snyder-written and Greg Capullo-drawn Batman became a bestselling, critically-acclaimed hit.

I returned to Snyder-Capullo Batman for the start of the “Zero Year” story line (Batman #21).  It started off brilliantly, with at least three superb issues, but “Zero Year” came to define everything that was bloated about the second half of Snyder's run as writer on the Batman flagship comic book.  The story arcs were too long, and while each arc had at least one fantastic issue, many of the other issues were story line padding or read like filler material.

Now, here comes DC Comics' latest publishing event/initiative, “Rebirth,” and with it comes a new Batman comic book, All Star Batman.  This series will be written by Scott Snyder and drawn by “superstar” artists and hot up-and-comers.  The first story arc is drawn by John Romita, Jr. (pencils) and Danny Miki (inks); colored by Dean White; and lettered by Steve Wands.

All-Star Batman #1 (“My Own Worst Enemy” Part 1) opens at Auggie Mac's Diner, somewhere in the Midwest.  The bustling restaurant's routine of serving comfort food to regular Joes and Janes is interrupted by a pitched battle between Batman and the team of Firefly and Killer Moth.  Why are they fighting, other than the fact that they are hero vs. arch-enemies?  Well, it involves Two-Face, and Batman may find that no one is on his side this time.

So count this as one of those fantastic first issues of a Batman story arc that Scott Snyder does so well.  Hell, if you are just looking for a darn good read and don't mind that it ends on a to-be-continued, you could not go wrong with All Star Batman #1.  Romita, Jr. and Miki make a dynamite art team, and Dean White's rich hues are eye-candy colors.  I have flipped through this book several times over the past few days; graphically, it is that pretty.

All Star Batman #1 includes a second story, written by Snyder and drawn by Declan Shalvey.  It has an intriguing premise, although it is not hell-bent action as the lead feature.  Still, it adds to my excitement about All Star Batman.  Hopefully, this opening arc does not start to feel like it is running too long and is bloated.  But really, what is going to change?  Thus far, Snyder has gotten nothing but encouragement from readers, the fan press, and the powers-that-be at DC Comics, so why should he change what he is doing?  This is not necessarily a rhetorical question.

A

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


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

-------------------------

Review: BATMAN/SUPERMAN #21

BATMAN/SUPERMAN No. 21
DC COMICS – @DCComics

[This review originally appeared on Patreon.]

WRITER: Greg Pak
PENCILS: Ardian Syaf
INKS: Vicente Cifuentes
COLORS: Ulises Arreola
LETTERS: Rob Leigh
COVER: Ardian Syaf and Danny Miki with Ulises Arreola
VARIANT COVERS: Jock (Joker 75th Anniversary variant)
32pp, Color, $3.99 U.S. (August 2015)

Rated “T” for “Teen”

“Truth Hurts” Part One

Superman and Batman have been teaming up in various comic books for decades.  The best known Superman/Batman team-up series was the long-running World's Finest Comics (1941 to 1986).  The current incarnation of a Dark Knight/Man of Steel team-up comic book is Batman/Superman, which is currently written by Greg Pak; penciled Ardian Syaf, inked by Vicente Cifuentes; colored by Ulises Arreola; and lettered by Rob Leigh.

Batman/Superman #21 (Truth Hurts” Part One) is essentially the first DCYou issue of the series.  As the story begins, Superman is fighting for his life, when he shouldn't.  You see, Superman has lost his powers (as seen in Gene Luen Yang and John Romita, Jr.'s run on Superman, beginning with issue #41), and the world knows that he is also Clark Kent.  A visit to Lex Luthor pays off in information.  The source of the thugs that are plaguing Superman seems to be located in Gotham City.  But Superman does not know about the current Batman...

I would normally not spend a dime on Batman/Superman.  If I want to read about Batman and Superman partnering up, I will read a Justice League comic book or find a back issue of World's Finest.  However, I decided “what the heck?” because I want to read as many DCYou first issues and first chapters as I can.

This actually is not bad.  Ardian Syaf's art, which is awkward like a teen boy struggling through puberty, and Greg Pak's functional storytelling capture the struggles of this “new era” in both Superman and Batman titles.  This comic book is worth reading just to see how the new status quo works out for DC Comics' “Big Two” characters as a unit, at least for the time being.  In fact, I'm curious enough to read a few more issues of (DCYou) Batman/Superman.

B

Reviewed by Leroy Douresseaux


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

2015 Harvey Award Winners Announced; Dark Horse, Fiona Staples Lead the Pack

The Harvey Awards recognize outstanding work in comics and sequential art.  The Harvey Awards are named in honor of the late comic book creator, editor, and publisher, Harvey Kurtzman, one of the industry's most innovative talents.  Nominations for the Harvey Awards are selected exclusively by creators - those who write, draw, ink, letter, color, design, edit, or are otherwise involved in a creative capacity in the comics field. They are the only industry awards both nominated and selected by the full body of comic book professionals.

The 2015 Harvey Awards were presented, Saturday, September 26, 2015 in Baltimore, MD, in conjunction with the 2015 Baltimore Comic-Con (September 25-27, 2015).  This is the tenth year for the Harvey Awards in Baltimore, MD.

The 2015 Harvey Awards winners:

BEST LETTERER
Jack Morelli, AFTERLIFE WITH ARCHIE, Archie Comic Publications

BEST COLORIST
Dave Stewart, HELLBOY IN HELL, Dark Horse Comics

BEST SYNDICATED STRIP or PANEL
DICK TRACY, Joe Staton and Mike Curtis, Tribune Media Services

BEST ONLINE COMICS WORK
THE PRIVATE EYE, Brian K. Vaughan, Marcos Martin, and Muntsa Vicente, panelsyndicate.com

BEST AMERICAN EDITION of FOREIGN MATERIAL
BLACKSAD: AMARILLO, Dark Horse

BEST INKER
Danny Miki, BATMAN, DC Comics

BEST NEW SERIES
SOUTHERN BASTARDS, Image Comics

MOST PROMISING NEW TALENT
Chad Lambert, "KILL ME" FROM DARK HORSE PRESENTS, Dark Horse Comics

SPECIAL AWARD FOR HUMOR IN COMICS
Chip Zdarsky, SEX CRIMINALS, Image Comics

BEST ORIGINAL GRAPHIC PUBLICATION FOR YOUNGER READERS
LUMBERJANES, BOOM! Box (BOOM! Studios)

BEST GRAPHIC ALBUM PREVIOUSLY PUBLISHED
MOUSE GUARD: BALDWIN THE BRAVE AND OTHER TALES HC, Archaia/BOOM!

BEST ANTHOLOGY
DARK HORSE PRESENTS, Dark Horse Comics

BEST DOMESTIC REPRINT PROJECT
STERANKO NICK FURY AGENT OF S.H.I.E.L.D. ARTIST'S EDITION, IDW

BEST COVER ARTIST
Fiona Staples, SAGA, Image Comics

BEST BIOGRAPHICAL, HISTORICAL, or JOURNALISTIC PRESENTATION
TEENAGE MUTANT NINJA TURTLES: THE ULTIMATE VISUAL HISTORY, Andrew Farago, Insight Editions

SPECIAL AWARD for EXCELLENCE IN PRESENTATION
LITTLE NEMO: DREAM ANOTHER DREAM, Andrew Carl, Josh O'Neill, and Chris Stevens, Locust Moon Press

BEST GRAPHIC ALBUM ORIGINAL
JIM HENSON'S THE MUSICAL MONSTERS OF TURKEY HOLLOW, Archaia/BOOM! Studios

BEST CONTINUING OR LIMITED SERIES
SAGA, Image Comics

BEST WRITER
Mark Waid, DAREDEVIL, Marvel Comics

BEST ARTIST
Fiona Staples, SAGA, Image Comics

BEST CARTOONIST
Terry Moore, RACHEL RISING, Abstract Studios

BEST SINGLE ISSUE OR STORY
"Breaking Out", DARK HORSE PRESENTS #35, Dark Horse Comics

---------------------------------

Review: BATMAN #41

BATMAN #41
DC COMICS – @DCComics

[Originally posted on Patreon.]

WRITER: Scott Snyder
PENCILS: Greg Capullo
INKS: Danny Miki
COLORS: FCO Plascencia
LETTERS: Steve Wands
COVER: Greg Capullo and Danny Miki with FCO Plascencia
VARIANT COVERS: Sean Murphy with Matt Hollingsworth (Joker 75th Anniversary Cover)
32pp, Color, $3.99 U.S. (August 2015)

Rated “T” for “Teen”

Batman created by Bob Kane and Bill Finger

“Superheavy” Part One

RoboBatBunny?  June 2015 kicks off the latest new direction for DC Comics (of sorts).  It's called “DC You.”  So, even DC's most popular characters must take a new direction, to one degree or another.  Gone, gone o'form of Batman... and rise the battle-suit Batman!

Batman #41 (“Superheavy” Part One) opens with some kind of bio-electrical monster attacking Gotham City's Little Cuba neighborhood.  Sometime before that attack, however, Powers International (an advanced tech company) makes former Commissioner James “Jim” Gordon an offer that common sense tells him he should refuse.  But he really can't.  At the age of 46, Jim Gordon may be the only man who can bring to life the new Batman that Gotham needs right now.

Yeah, I want to be a hater.  A year and a half ago, I would agree with those who said that Scott Snyder is one of the best Batman comic book writers ever.  After the tedium that was “Endgame” and the naseum of the overly long “Zero Year,” I was only grudgingly willing to say that Snyder is one of the best Batman writers of the last two decades... maybe.  And then this new Batman thing...

But... and it's a big but (and I know that BellBivDevoe said “don't trust a big butt and a smile”), Snyder could do something really good with this new Batman.  Truth to be told, I have always been interested in Batman battle-suits and armor-suits (like the cool one in Frank Miller's Batman: The Dark Knight Returns).  I can't help but be interested in Jim Gordon the superhero.  Let's slave our imaginations into this Batman's guidance system, and see where it goes... at least, for a little while.

B+

Reviewed by Leroy Douresseaux


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

I Reads You Review: BATMAN #35

BATMAN #35
DC COMICS – @DCComics

WRITER: Scott Snyder – @Ssnyder1835
PENCILS: Greg Capullo
INKS: Danny Miki
COLORS: FCO Plascencia
LETTERS: Steve Wands
COVER: Greg Capullo and Danny Miki with FCO Plascencia
VARIANT COVERS: Andy Kubert with Brad Anderson; Brian Stelfreeze (Monster Variant)
40pp, Color, $4.99 U.S. (December 2014)

Rated “T” for “Teen”

Batman created by Bob Kane and Bill Finger

Endgame #1

How do writer Scott Snyder and artist Greg Capullo follow their 12-issue Batman epic, “Zero Year?”  Well, pitting Batman against his super-powered teammates from the Justice League sounds like a idea.

Batman #35 (“Endgame” Part 1) opens Bruce Wayne reworks his infrastructure and recovers from the beatings he took during the events still being depicted in Batman: Eternal (because the events depicted in Batman #35 take place after whatever will be depicted in Batman: Eternal).  Suddenly, Wonder Woman drops by Bruce Wayne's new Batman base of operations at Old Wayne Tower, and, much to Bruce's surprise, she wants to kill him.

No, she really wants to kill him... as in homicide.  And so do Flash, Aquaman, and Superman.

The art team of Greg Capullo, inker Danny Miki, and colorist FCO Plascencia are visually and graphically a truly unique Batman art team, but it is not just about pretty pictures.  Their graphical storytelling heightens the sense of drama and conveys subtlety in character, emotion, and conflict.  Superheroes with colorful costumes usually seem odd and out of place in the moody shades of Gotham City.  They might seem so even in the more sparkly version of Gotham of this current ongoing Batman comic book series.  However, these artists make the Justice League seem a natural part of the ebb and flow of the weird crime and conflict of the Dark Knight's stomping grounds.

I think the reveal on the last page of who is behind the Justice League attack means that Endgame just might be something special.  In fact, that is what Scott Snyder's run as Batman writer has been, special.  I actually was not sure that I was ready for another long Batman story arc, but I am now.

A-

[This comic book includes the short story, “The Paleman” by writer James Tynion IV, artist Kelley Jones, colorist by Michelle Madsen, and letterer by Dezi Sienty.]

Batman #35 features the first chapter of “The Paleman,” which looks to be a backup feature that is tied to Endgame.  I don't know how long this feature will run, but I hope it is for several issues because the artist of “The Paleman” is one of my favorites, Kelley Jones.

I have always thought that Jones was influenced by Berni Wrightson and also by an artist Jones once replaced on a 1980s comic book series, Mike Mignola.  Jones spun those influences into his own potent and idiosyncratic style.  It is just right for James Tynion IV's grim thriller of a script, and Michelle Madsen's brooding coloring is just right for Jones' shadowed compositions.

A-

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: BATMAN #33

BATMAN #33
DC COMICS – @DCComics

WRITER: Scott Snyder
PENCILS: Greg Capullo
INKS: Danny Miki
COLORS: FCO Plascencia
LETTERS: Dezi Sienty
COVER: Greg Capullo and Danny Miki with FCO Plascencia
VARIANT COVERS: Paolo Rivera; Bryan Hitch with Alex Sinclair
48pp, Color, $4.99 U.S. (September 2014)

Rated “T” for “Teen”

Batman created by Bob Kane and Bill Finger

I finally got around to reading Batman #33, which contains the final chapter of the Batman event story, “Zero Year.”  Written by Scott Snyder and drawn by Greg Capullo, this 12-issue “graphic novel” only ran through the ongoing Batman title, beginning with Batman #21.  [Batman #28 was a preview of the current weekly Batman comic book, Batman Eternal.]

I seem to remember it being announced as a ten-issue event, and that would have been about right... at least for me.  After reading Batman #31, I thought that issue needed to end.  Yeah, “Zero Year” was too long.  I also think that “Zero Year” is really The New 52 take on the Frank Miller-David Mazzuchelli classic, “Batman: Year One,” which was originally published in Batman (1940) #404 to #407.

In “Zero Year,” the Riddler (Edward Nygma) successfully launches a massive and complicated plot that leaves Gotham City without some utilities (including power).  Gotham is essentially in a blackout and is closed from the rest of the world.  It becomes a dead city, as if it were plunged into some kind of post-apocalyptic future, where the infrastructure decays and plants and foliage take over.

Batman #33 finds Batman in the clutches of the Riddler.  He must battle the villain in a game of riddles to save Gotham by keeping a series of weather balloons filled with a dangerous chemical agent (basically a weapon of mass destruction) from being activated.  At the same time, military jets make a final run to bomb Gotham.  Batman does not battle alone to save his city, but policeman Jim Gordon and Wayne Enterprises Industries employee, Lucius Fox, may not be able to help Batman... or even save the city.

Although I found “Zero Year” to be too long, I did think that individual issues within the event were quite good (such as #31).  I liked that Scott Snyder invested a considerable amount of the narrative delving in the personalities, quirks, motivations, etc. of not only Batman, but also of his supporting cast.  Their is a deeply emotional component to Bruce Wayne's relationship with his butler/partner, Alfred Pennyworth, and Snyder depicts this “union” as an emotional landscape fraught with landmines, apt to explode into shouting matches.  Like our real world, loved ones can use words to hurt, and I think Snyder gives Bruce and Alfred's relationship as much worth as that between Batman and Alfred.

“Zero Year” is also a star turn for the art team of penciller Greg Capullo and inker Danny Miki.  Since he starting drawing Batman with the birth of The New 52 back in 2011, Capullo has fully emerged from the mystery world and curious comics ghetto of Todd McFarlane, where Capullo toiled for years on McFarlane's Spawn comic book.  Capullo's Batman compositions have been stylishly quirky and oddly visually appealing.  Miki's intricate inking seems to precisely trace the pencils, but always improves the art.  With Miki, Capullo creates comic book art that seems like a modern take on the primordial graphics of early Batman comic books.

I like “Zero Year” most of all because of the art.  I am also curious to see where Snyder takes the ongoing Batman series post-event.

A-

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: BATMAN #22

BATMAN #22
DC COMICS – @DCComics

WRITER: Scott Snyder
PENCILS: Greg Capullo
INKS: Danny Miki
COLORS: FCO Plascenia
LETTERS: Nick Napolitano
COVER: Greg Capullo with FCO Plascenia
VARIANT COVER: Mikel Janin
40pp, Color, $3.99 U.S. (September 2013)

Batman created by Bob Kane with Bill Finger

Zero Year – Secret City: Part Two

Dear Scott Snyder and Greg Capullo,
Apparently, your “Zero Year,” a most pleasing, is what I wanted Grant Morrison’s Batman to be.  Of course, I enjoyed Mr. Morrison’s Batman stories, but I always thought that they should somehow be... better?  His Batman and Robin series started with such hope and promise, but quickly went flat, whereas your own “Zero Year,” seems to be on an upward trajectory, as they say. We’ll see...

The latest Batman event storyline is “Zero Year.”  Written by Scott Snyder and drawn by Greg Capullo, this 10-issue story is currently running through the ongoing, eponymous Batman series.  And thank you, DC Comics, for not making it a crossover with other Bat-titles and keeping the publication schedule pure.

Batman #22 (Zero Year – Secret City: Part Two) opens with Bruce Wayne facing down the Red Hood and his gang.  He discovers a shocking connection to the criminal and to Wayne Enterprises, but Bruce doesn’t know the half of it.  Meanwhile, a flashback to the past shows little Bruce gone cave exploring.  And adult Bruce has a spat with his butler, Alfred Pennyworth.  See ya’ next issue.

As I said in my review of Batman #22:  Wow!  I’m ready to read more.  Snyder is killin’ it, y’all.  I so don’t look forward to a refraction period, so I hope this story arc stays strong.  Style aside, Greg Capullo is doing some tremendous storytelling.  “Tremendous,” did I say?  I guess you can tell that I am enjoying this.  But I look forward to enjoying this, almost as much as I look forward to each new appearance of Love and Rockets – my favorite comic book.

Bruce Wayne: “That One Time”

WRITERS:  Scott Snyder and James Tynion IV
ART: Rafael Albuquerque
COLORS: Dave McCaig
LETTERS: Taylor Esposito

This issue’s Bruce Wayne flashback story is “That One Time.”  It takes place when Bruce is 21.  He’s trapped in a hole of some kind.  The theme is “doing the impossible.”  I like some of what artist Rafael Albuquerque is doing here.  The rest of the art serves the story, so I won’t complain.

Artists, writers, and other creative types will find some words of wisdom in this story.  They may even find it inspirational.

A

Reviewed by Leroy Douresseaux


The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

I Reads You Review: BATMAN #21

BATMAN #21
DC COMICS – @DCComics

WRITER: Scott Snyder
PENCILS: Greg Capullo
INKS: Danny Miki
COLORS: FCO Plascenia
LETTERS: Nick Napolitano
COVER: Greg Capullo with FCO Plascenia
VARIANT COVER: Jock
40pp, Color, $3.99 U.S. (August 2013)

Batman created by Bob Kane with Bill Finger

Zero Year – Secret City: Part One

The latest Batman event story is “Zero Year.”  Written by Scott Snyder and drawn by Greg Capullo, the 10-issue story is currently running through the ongoing Batman title.

Batman #21 (Zero Year – Secret City: Part One) opens six years ago, which I’m assuming is a time period occurring before The New 52.  Batman looks cool on a motorcycle.  Then, the story moves to a period five months earlier than that.  Then, there are flashbacks to Bruce Wayne’s youth.  “Secret City,” which seems unhinged in time, features the Red Hood, Alfred Pennyworth, Dr. Thomas Wayne, Philip Kane (Bruce’s maternal uncle, whom obviously irritates Alfred), and a surprise appearance from a classic member of Batman’s rogues gallery.  See ya’ next issue.

Wow!  I’m ready to read more.  Snyder borrows elements (as far as I can tell) from Batman stories written by Frank Miller, Grant Morrison, and novelist Tracy Hickman.  He turns that into an intriguing tale of Batman’s early campaign against crime in Gotham City.  I think Uncle Philip is in this story to add a tragic twist, and for that Snyder has made him well suited for betrayal and blood.  One of my favorite things about this story is how Snyder portrays young Bruce Wayne as an explorer of Gotham.  It’s too cute, and it tugs at the heart.

Another favorite thing about Batman #21 is Greg Capullo’s quirky pencils, which under Danny Miki’s inks, creates a Batman milieu that is timeless.  The art seems inspired by the entire graphical landscape of Batman, from the 1960s to the early 21st century.  FCO Plascenia’s coloring captures lovely autumnal colors in a way that one would think not possible for a comic book (and certainly not a superhero comic book), and the coloring gives Gotham City character and personality.  I’m ready for more.

A-

Back-up story:  Bruce Wayne: Where the Hell Did he Learn to Drive?!

WRITERS:  Scott Snyder and James Tynion IV
ART: Rafael Albuquerque
COLORS: Dave McCaig
LETTERS: Taylor Esposito

“Bruce Wayne: Where the Hell Did he Learn to Drive?!” is a back-up short comic that presents a vignette of the life of 19-year-old Bruce Wayne.  I guess that you can’t tell a tale of early Batman, if you don’t also show how Bruce got to Batman.  I will assume that Bruce is in Rio do Janeiro (the story’s setting) to train for his future efforts in Gotham.  This is a clever story that hints at the future “Dark Knight,” especially Frank Miller’s Clint Eastwood-esque take on the character.  Rafael Albuquerque’s art is nice.

Reviewed by Leroy Douresseaux

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I Reads You Review: UNCANNY X-MEN #1

UNCANNY X-MEN #1 (April 2013)
MARVEL COMICS

WRITER: Brian Michael Bendis
PENCILS/COLORS: Chris Bachalo
INKS: Tim Townsend, Jaime Mendoza, Al Vey
LETTERS: VC’s Joe Caramagna
VARIANT COVERS: Skottie Young; Joe Quesada and Danny Miki with Richard Isanove; Francesco Francavilla; Gabriel Del’Otto; Stuart Immonen with Marte Gracia
28pp, Colors, $3.99 U.S.

Rated T+

Part of Marvel Comics’ Marvel NOW initiative (the re-launch of their comics line) is another re-launch of Uncanny X-Men. The new series is written by Brian Michael Bendis, who is also writing Uncanny’s sister title, All-New X-Men. For the time being, the art is being produced by Chris Bachalo (pencils) and Tim Townsend (inks). Longtime comic book readers know why I’m saying “for the time being.”

The roster of X-Men that makes up this new Uncanny X-Men is Cyclops, Magneto, Emma Frost the White Queen, Majik, and two new mutants. The newbies are an Australian girl, Tempus, and a boy who is a healer and who has not chosen his mutant name, yet. Cyclops/Scott Summers, one of the original X-Men, has become a highly controversial figure and is also the public face of a new mutant revolution.

Uncanny X-Men #1 opens in an underground S.H.I.E.L.D. interrogation bunker. Director Hill is about to interview a mysterious figure who has shown up out of nowhere. He has a tale to tell about Cyclops and his band of X-Men. It begins with the rescue of Fabio Medina, a young mutant whose powers have just awakened. What is this stranger really offering S.H.I.E.L.D. and what does he really want?

Brian Michael Bendis is proving himself to be the best X-Men writer in a decade or, at least since Grant Morrison on New X-Men. Bendis is doing his excellent work without making the changes Morrison did when he became an X-writer. In this first issue, the set-up of the mysterious stranger peddling information creates a thrilling sense of mystery, drama, and anticipation. It’s enough to have me coming back.

OK. Chris Bachalo. Yeah, used to like him a lot. He has done some really good work. Bachalo is from the school of eye-candy comic book art. He has sometimes been more about style than storytelling, and his compositions can be crowded, though not always. Gawd, remember Steampunk? Luckily, the crowding is down significantly. In Uncanny X-Men #1, the storytelling is off-kilter, at times, and the page design is sometimes a jumbled cluster-fk that makes certain pages annoying to read.

Thank God for Bendis.

A-

Reviewed by Leroy Douresseaux

Albert Avilla Reviews: Thor God of Thunder #1

Thor God of Thunder #1
Marvel Comics

Reviewed by Albert Avilla

Writer: Jason Aaron
Artist: Esad Ribic
Covers: Daniel Acuna
Variant Covers: Skottie Young; Joe Quesada, Danny Miki & Richard Isanove

A World Without Gods (Spoilers!)
Thor is the definition of awesome when he is handled well, and we have an excellent example here. How are they going to top this? I'll be pleased if they can maintain this level of storytelling.

We see Thor go from being a protector of a Norse village to the savior of a planet to the last defender at the gates of heaven. We don't get to see the villain of this piece, but by his handy work, we know he will be more than a formidable foe for Thor. This is the beginning of an epic battle between Thor and Gorr the god butcher. It is fascinating to see Thor's growth within these few pages. In his youth, he is a bold adventurer who cares little how his actions affect others. In the present, he is a mature god working for the welfare of others. In the future, we see a worn-down, elder god, the last Asgardian, fighting for the honor of his lost race.

I couldn't ask for a more wonderful read, even from a bestselling fantasy novel. The beauty of Thor stories is that you can go from superhero fantasy to sword and sorcery with single character. This is a fantastic beginning to the new Thor series.

The art is worthy of the great story. This journey through time and space is made more fabulous by this magnificent art. Thor's godliness pulsates throughout each panel.

I rate Thor God of Thunder #1 Buy Your Own Copy. #2 (of 5) on Al-O-Meter Ranking.

I Reads You Review: AVENGING SPIDER-MAN #1

"Need another Spidey title like you need a hole in your head"

AVENGING SPIDER-MAN #1
MARVEL COMICS

WRITER: Zeb Wells
ARTIST: Joe Madureira
COLORS: Ferran Daniel
LETTERS: VC’s Joe Caramagna
COVER: Joe Madureira and Aron Lusen (Variant coves by Humberto Ramos and Edgar Delgado; J. Scott Campbell and Edgar Delgado; and Joe Quesada, Danny Miki, and Richard Isanove)
32pp, Color, $3.99 U.S.
Rated T+

The new Spider-Man comic book series, Avenging Spider-Man, acts as the latest Spider-Man team-up title. The most famous is Marvel Team-Up, which first ran from the 1972 to 1985 (Vol. 1). There is an “afterword” in the back of Avenging Spider-Man, in which editor Stephen Wacker writes that this new title is going to be a star creator-oriented comic book that will feature oddball comic book characters, as well as popular characters as guest stars.

The star creators to start this are writer Zeb Wells (a star?) and artist Joe Madureira (still a star, but likely not as bright as he was back in the 90s). The team-up joins Spider-Man and the Red Hulk.

As Avenging Spider-Man #1 opens, Spider-Man and his Avenger teammates are battling A.I.M. and a giant A.I.M.Bot. Meanwhile, New York City Mayor J. Jonah Jameson has just shot the starter pistol to begin the New York City Marathon. The marathoners, however, immediately find their progress impeded by an invasion of diminutive yellow monsters. Hopping a ride to NYC on the back of the Red Hulk, Spider-Man finds himself arriving just in time to lose to the invaders – even with the Hulk’s help?!

Back in the mid-1990s, penciller Joe Madureira (also known as Joe Mad) and inker Tim Townsend formed one of the best (if not the best) art teams working in superhero comics. Maduriera’s anime and manga influenced style were transformed into solid comic book art by Townsend, an inker with a master illustrator’s touch. Madureira’s art did not suffer much when he left Marvel for Wildstorm Productions and Image Comics to produce his creator-owned title, Battle Chasers (published under Wildstorm’s Cliffhanger imprint). By the beginning of the 21st century, however, Madureira had left comics to work in the video game industry.

Joe Mad returned to comics in 2007 for The Ultimates 3 from Marvel Comics, but his art was no longer inked by Townsend or inked at all for that matter. Now, Madureira’s art was colored directly from the pencils. For me, it left much to be desired. As best as I can tell, Madureira’s is producing the art for Avenging Spider-Man the same as he did for The Ultimates.

It is not that I think Mad’s art here isn’t good. I do think that compared to the work he did on Uncanny X-Men with Townsend inking, this Avenging Spider-Man art is inferior, at least in terms of style and draftsmanship. However, I still admire Mad’s compositional and design skills. Some other artists may stretch out stories with splash pages or pages composed of big panels simply because those pages are more attractive to sell as original art. Mad uses splash pages and big panels to create a heightened sense of the dramatic or convey the power of action, force, movement, etc. The way Mad positions characters and objects in panels and the “camera” angles he uses reflect what Stan Lee preached in his How to Draw Comics the Marvel Way (co-authored with John Buscema).

As for the story: it’s mediocre. I’m amazed that Marvel and DC Comics can still get away with producing remarkably mediocre material, the kind of toad burger product that would spell doom for a publisher not financed by a multi-national media corporation. I’m surprised at the mediocrity because I remember when Zeb Wells first showed up on the comics scene; he was supposed to be some kind of golden boy. Is that golden as in piss gold?

My grade reflects my still-alive love of Joe Mad, but the grade should be lower because of the story.

C

[This comic book includes a preview of Avengers: X-Sanction #1 by Jeph Loeb and Ed McGuinness.]

P.S. I’m going to buy a copy of Avengers: X-Sanction #1 just to rag on it. The five pages that are previewed here are just lousy. I’d really be disappointed if it turned out to be good, thus denying me some fun.