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

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

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

Justice League of America created by Gardner Fox

Introduction by Damon Lindelof

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

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

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

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

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

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

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

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

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

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

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

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

A
9 out of 10

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

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


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

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

Get #28DaysofBlack review links here.

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

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

Justice League of America created by Gardner Fox

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A
9 out of 10

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


https://www.dccomics.com/
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The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Albert Avilla Reviews: Batgirl #13

Batgirl # 13
DC Comics

Reviewed by Albert Avilla

Writer: Gail Simone
Pencils/Inks: Ed Benes

A Blade of Memory (Spoilers!)
The story kicks off with our heroine down and out for the count. She's been stabbed by the vile Nightfall. Batgirl brings herself back from the brink to stop Nightfall.

During a break in the action, we get Nightfall's origin. We learn that she is the daughter of a corrupt businessman. After her family is brutally murdered by her boyfriend, Trevor, Charise Carnes takes the blame and allows herself to be sent to Arkham to learn her craft from the inmates. What degree program is that? After that fine education, she goes on the noble path of fixing Gotham City by torturing and murdering criminals.

Once Batgirl lets Nightfall know that she's leaving with the criminal that Nightfall has been torturing and Trevor, the fight renews. Just as Batgirl reaches her limit, she gets help from the thug she is trying to save and is able to defeat Nightfall. Then, Batwoman comes in to save Batgirl. Barbra's mother is being threatened by thugs in clown masks. A group of super-villains are being gathered to kill Batgirl.

DC has a creative team on Batgirl that has the ability to make the book A-list. The potential for greatness is awesome. Upcoming stories seem to be interesting. Nightfall is a good archenemy for Batgirl, as their different philosophies clash with each other. Nightfall has challenged Batgirl by threatening to control the cyberworld, making Batgirl want to rise to the challenge. Batgirl is better when she is part of the action, but it would benefit her to develop her skills as a computer hacker. With covert and overt enemies to face, Batgirl has a challenging future to face.

I give props to Benes; he hasn't drawn a story where the art didn't accentuate the story. This is an all-around, good-looking book. He was even able to keep Batwoman in her own unique look.

I rate Batgirl # 13 Buy Your Own Copy. #2 (of 5) on the Al-O-Meter Ranking

The New 52 Review: RED LANTERNS #1

RED LANTERNS #1
DC COMICS

WRITER: Peter Milligan
PENCILS: Ed Benes
INKS: Rob Hunter
COLORS: Nathan Eyring
LETTERS: Carlos M. Mangual
COVER: Ed Benes and Rob Hunter with Rod Reis
32pp, Color, $2.99

Part of “The New 52,” DC Comics’ re-launch of its superhero comics line, is the release of comic books starring characters that previously never had their own ongoing comic book series. The Red Lanterns, who are part of Green Lantern lore, are one such group of characters.

Red Lanterns #1 (“With Blood and Rage”) opens as the Red Lanterns lead an assault against marauders in Space Sector 666. However, Atrocitus, the leader and creator of the Red Lanterns, is just not feeling the rage and believes that he is just going through the motions. What is this malaise? Meanwhile, in Small Ockdon, United Kingdom, brothers Ray and John face a tragedy that brings out the rage.

Writer Peter Milligan fashions scenes and set pieces that convincingly convey what seems to be this series dominant theme, rage. There are also odd moments of poignancy in a few scenes, but the story reads cold, lacking the heat of the hotter emotions. The art by Ed Benes (who is from the chicken scratchy school of early Image Comics art) and Rob Hunter does nothing for me. It is flat and the emotions and feelings it suggests (rage, resentment, jealousy) come across as cartoonish and fake. I’m not interested in where this series is going, although I am usually curious about what Milligan is writing.

C

September 14th
BATMAN AND ROBIN #1
http://ireadsyou.blogspot.com/2011/09/batman-and-robin-1.html
FRANKENSTEIN AGENT OF SHADE #1
http://ireadsyou.blogspot.com/2011/09/frankenstein-agent-of-shade-1.html
GREEN LANTERN #1
http://ireadsyou.blogspot.com/2011/09/green-lantern-1.html
SUPERBOY #1
http://ireadsyou.blogspot.com/2011/09/superboy-1.html