#IReadsYou Review: STARSLAYER #10: Grimjack Begins

STARSLAYER #10
FIRST COMICS

STORY: John Ostrander
PENCILS: Lenin Delsol
INKS: Mike Gustovich
COLORS: Janice Cohen
LETTERS: Janice Chiang
EDITOR: Mike Gold
COVER: Lenin Delsol and Mike Gustovich
32pp, Color, $1.00 U.S., $1.25 CAN (November 1983)

Starslayer created by Mike Grell

“Bounty”

Starslayer was a comic book series published by First Comics in the mid-1980s.  It began as a six-issue miniseries, Starslayer: The Log of the Jolly Roger, created by writer-artist, Mike Grell.  Starslayer focused on Torin Mac Quillon, a Celtic warrior from the time of the Roman Empire, who is pulled into the distant future by Tamara, a descendant of his wife after she remarried.  Torin joins the crew of the spaceship, “the Jolly Roger,” in their fight against the oppressive regime that is ruling the Earth.

Starslayer #10 (“Bounty”) opens on the planet, Corindubar, where Torin and Tamara hope to obtain a replacement for the cracked “infinity unit” in the Jolly Roger's warp drive.  They also find bounty hunters looking to claim the bounty on their heads, but unbeknownst to them, an immortal bounty hunter named Black Thom McKuen, is also stalking them.

Later, “The Rapter” continues to hunt the Jolly Roger.  Then, Torin and Tamara get stuck with a new crew mate, Crayne, owner of the recently destroyed space port, “Tao VII.”  And Crayne believes that Torin and Tamara owe him.

Meanwhile, the original owners of the Jolly Rogers, an old-Earth blood family, the D'Orsinis, want the ship back.  And the D'Orsini matriarch, The Comtessa Lavinia, alerts all family members in this quadrant – report any sightings of Jolly Roger.

THE LOWDOWN:  Reading the adventures of the Jolly Roger isn't really the reason I bought a copy of Starslayer #10, but I did enjoy the story and the art.  It is a frivolous and fun space opera; imagine Star Wars if it focused on Han Solo and Chewbacca's adventures as smugglers.  I might even go back to Starslayers's beginnings; I am really enjoying it.  I second what the former magazine, Comics Scene, said at the times, Starslayer is captivating.

I also discovered an interesting bit of information about one on this series' creative team.  Starslayer's lead artist at this point in its run, the British-born Lenin Delsol, is now an art educator, fine artist, and portrait painter.

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GRIMJACK
Created by John Ostrander and Timothy Truman

“Mortal Gods”
STORY: John Ostrander
ART: Timothy Truman
COLORS: Janice Cohen
LETTERS: John Workman
EDITOR: Mike Gold

The backup feature in Starslayer #10 introduces the character Grimjack, who would go on to appear in Starslayer issues #10 to #17.  Grimjack would later receive his own title in the summer of 1984.

“Grimjack” is the street name of John Gaunt, a sword-for-hire who is also ex-paramilitary, war veteran, and former child gladiator.  Grimjack operates from Munden's Bar in the Pit, a slum area of Cynosure, a pan-dimensional city that connected all the dimensions (or multiverse) that existed in titles published by First Comics.

The introductory Grimjack story is the two-part “Mortal Gods.”  It is written by John Ostrander; drawn by Timothy Truman; colored by Janice Cohen; and lettered by John Workman.  In the story, the followers of the god of blood and war, “Zago,” have invaded the forest lands of the people called the “Kyrians.”  Zago plans to have the sands of his desert overrun the forest lands.  The Kyrians' high priestess, Elvana, seeks the help of their god, Manwyyes.

Elvana's spell and chanting somehow transports her to Cynosure, the city where the multiverse meets.  Cross a street and you might cross a dimension.  Someone points her to Grimjack as the man who can help her find her god, and what he shows her is utterly shocking.  Manwyyes is living as “Manny Weese” alias “Weevil,” a drunk, who also happens to be a friend of Grimjack's.  What's left is for Manny to reveal how he became a god and for Grimjack to kill Zago, a god.

THE LOWDOWN:  I have read very few Grimjack comic books, but I have been planning on getting into this character for decades.  I finally forced myself to start.  The first thing that strikes me about “Mortal Gods” is how beautiful Tim Truman's illustrations are.  The page design carries the reader's eyes across the pages, and the art has so many layers and such rich textures that I found myself drawn into the world of Cynosure.  The characters' expression are varied and feel authentic, especially Grimjack's.  This is the work of a young artist raring to go.

Janice Cohen rich colors make Truman's illustrations pop off the page and bring the world of Cynosure to life.  Readers familiar with Truman's work will recognize the artist's unique worm-inspired take on monsters and demons, and it all looks good under Cohen's colors.

Do I really have to say how wonderful the lettering by John Workman is?  No, I don't, because you already know that...

I do want to emphasize that Grimjack's debut is a 16-page story told over two issues, Starslayer issues #10-11.  This is the kind of serialized comic book story that will make some readers want to keep reading.  Combine Grimjack with the main Starslayer story, and the result is an off-beat, unique and delightful science fiction comic book … that I have waited too long to read.

I READS YOU RECOMMENDS:  Fans of Grimjack, Tim Truman, First Comics titles, and unique sci-fi comics will want Starslayer.

A
8 out of 10

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


The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReadsYou Review: BATMAN: Dark Detective

BATMAN: DARK DETECTIVE
DC COMICS – @DCComics

[This review was originally posted on Patreon]

STORY: Steve Englehart
PENCILS: Marshall Rogers
INKS: Terry Austin
COLORS: Chris Chuckry
LETTERS: John Workman
EDITORS: Anton Kawasaki (collection); Joey Cavalieri (original)
MISC ART: Marshall Rogers and Terry Austin
COVER: Marshall Rogers and Terry Austin
ISBN: 978-1-4012-0898-3; paperback (April 12, 2006)
144pp, Color, $14.99 U.S., $19.99 CAN

Batman created by Bob Kane and Bill Finger

Batman: Dark Detective is a 2006 trade paperback collection of the 2005, six-issue miniseries, Batman: Dark Detective (cover dated:  July 2005 to Late September 2005).  The miniseries was written by Steve Englehart; drawn by the late Marshall Rogers (pencils) and Terry Austin (inks); colored by Chris Chuckry; and lettered by John Workman.

Steve Englehart is an American comic book writer known for his influential and prominent work during the 1970s.  He had memorable runs writing The Avengers from #105 -#152 (1972 to 1976) and Doctor Strange (Vol. 2) #1 to 18 (except #3) for Marvel Comics.  He also created such Marvel characters as “Shang-Chi, Master of Kung-Fu,” “Nomad,” “Star Lord,” and “Mantis.”

Marshall Rogers (1950 to 2007) was an American comic book artist known for his work for Marvel Comics, DC Comics, and Eclipse Comics.  He produced memorable work, drawing and coloring writer Harlan Ellison's graphic novel, Demon with a Glass Hand (DC Comics, 1986).  He also drew an early 1980s run on Doctor Strange and a late 1980s run on The Silver Surfer, both for Marvel.

Englehart and Rogers' most acclaimed and most influential work happened when they collaborated on a six-issue run of Batman stories in Detective Comics in the 1970s.  From issue #471 to issue #476 (August 1977 to March-April 1978), Englehart and Rogers produced some of the most popular Batman stories of the 1970s and arguably of all time.  Englehart and Rogers re-teamed on Batman for the miniseries, Batman: Dark Detective, a follow-up and spiritual sequel to their original work on Batman for Detective Comics.

Batman: Dark Detective is set in Gotham City, but the action takes place within and outside Gotham City limits.  Batman has taken it upon himself to protect a hot new gubernatorial candidate, U.S. Senator Evan Gregory.  Batman's alter ego, Bruce Wayne, is also a big fan of Sen. Gregory, even making large cash contributions to the senator's gubernatorial campaign.

While attending a fundraiser for Sen. Gregory, Bruce is shocked to encounter a former girlfriend, Silver St. Cloud, at the fundraiser.  Once upon a time, Silver managed to discover that Bruce Wayne was Batman.  Afraid of the life Batman led, Silver ran away, leaving Gotham City behind her.  Now, she has returned, and she is Sen. Gregory's fiancée.  However, old feelings begin to stir up between Bruce and Silver, but is she now willing to accept the life that Bruce leads as Batman?

Meanwhile, three prominent members of Batman's “rogues gallery” are raising hell in Gotham.  First, the Scarecrow is releasing new types of his fear gas in order to reach into Batman and summon his deepest fears, thereby destroying him or making it easy for Scarecrow to destroy him.

The Joker, envious of the attention that Sen. Gregory's gubernatorial campaign has received, decides that he will also run for governor.  And he has a memorable campaign slogan, “Vote for Me or I'll Kill You.”  Envious of the Joker's campaign, Two-Face decides to kill the Joker and part of his plot involves the creation of a clone of himself.  This clone, however, will have a face that is whole and that is not hideous and acid-damaged like the left side of Two-Face's mug.

For Batman, the question is must he choose between his quest for justice and his affections for Silver?  Or can he balance and have both:  the dangerous life of Batman the crime fighter and the domestic life of Bruce Wayne with Silver St. Cloud as his partner and lover?

One of the most interesting Batman love interests, Silver St. Cloud has not appeared in many Batman comic books.  She is a good match for both Bruce Wayne and Batman in that she is fiercely independent, but also passionate in her love for Bruce/Batman.  Their relationship is perfect for drama, probably because their's is so obviously a doomed love.  I like that Englehart brought her back, because only he really knows how to use the character, as her co-creator (with artist Walter Simonson).

Two-Face and the Scarecrow are side players as villains in Dark Detective, but Englehart uses Scarecrow to force Batman to examine who he is, why he is the way he is, and why he does what he does.  Basically, in Batman: Dark Detective, Englehart puts Bruce Wayne and Batman through mental distress in a process by which Wayne will find a way to be at peace with why he became Batman and why he continues to do what he does.

Englehart and Rogers' Joker is one of the most frightening comic book versions of the character in its history.  Insane, matter-of-fact, and homicidal, their Joker is a force of nature, as relentless and as unpredictable as nature can be.  I still believe that the Joker that Englehart and Rogers first presented in 1977 is the one that shaped how the character would be interpreted and presented in comic books in the  four decades that followed.

Batman: Dark Detective finds Steve Englehart practically in top form as a comic book writer.  However, as an artist, Marshall Rogers is not in peak form; he would die of an apparent heart attack a little less than two years after Batman: Dark Detective #6 was published.  Rogers still delivers imaginative page and panel designs, but the quicksilver and mercurial clear line that defined his work during his peak years is gone.  However, Terry Austin's detailed and precision inking occasionally brings out some of the classic Marshall Rogers style.

Steve Englehart now refers to his 1970s run on Detective Comics as “Dark Detective I,” the precursor to his 2005 miniseries, Batman: Dark Detective, which he now calls “Dark Detective II.”  Englehart has also said that his early Batman stories not only influenced the 1989 Batman movie that was directed by Tim Burton, but that they were also the reason that film went into development.  Englehart has also stated that director Christopher Nolan's 2008 film, The Dark Knight, incorporates several elements presented in Batman: Dark Detective.

I saw The Dark Knight when it was first released, but only just read Batman: Dark Detective.  Yeah, the film has ideas that are similar to some found in this comic book.  Batman: Dark Detective the trade paperback is a good way to read this story, and the story solidifies my belief that Englehart is one of the best and most influential Batman comic book writers of all time.  I enjoyed Batman: Dark Detective enough to wish that we could get  Batman: Dark Detective II (or III, as Englehart would call it.).

A
8 out of 10

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


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

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#IReadsYou Review: BATMAN: Strange Apparitions

BATMAN: STRANGE APPARITIONS
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Steve Englehart; Len Wein
PENCILS: Marshall Rogers; Walter Simonson
INKS: Terry Austin; Dick Giordano; Al Milgrom
COLORS: Marshall Rogers
LETTERS: Ben Oda; Milton Snapinn; John Workman
EDITORS: Dale Crain (collection); Julie Schwartz (original)
MISC: Marshall Rogers; Walter Simonson; Terry Austin; Al Milgrom; Jerry Serpe
COVER: Marshall Rogers and Terry Austin with Lee Loughridge
ISBN: 978-1-56389-500-5; paperback (January 2000)
180pp, Color, $12.95 U.S., $20.00 CAN (November 11, 1999)

Batman created by Bob Kane and Bill Finger

Introduction by Steve Englehart

Steve Englehart is an American comic book writer known for his influential and prominent work during the 1970s.  He had memorable runs writing The Avengers from #105 -#152 (1972 to 1976) and Doctor Strange (Vol. 2) #1 to 18 (except #3).  He created such comics characters as “Shang-Chi, Master of Kung-Fu,” “Nomad,” “Star Lord,” and “Mantis.”

Marshall Rogers (1950 to 2007) was an American comic book artist known for his work for Marvel Comics, DC Comics, and Eclipse Comics.  He produced memorable work like Harlan Ellison's graphic novel, Demon with a Glass Hand (DC Comics, 1986); an early 1980s run on Doctor Strange and a late 1980s run on The Silver Surfer, both for Marvel.

In November 1999, DC Comics published the trade paperback, Batman: Strange Apparitions.  It collected Englehart and Rogers' most acclaimed and most influential work, which was their collaboration on a six-issue run of Batman stories for Detective Comics in the 1970s.  From issue #471 to issue #476 (August 1977 to March-April 1978), Englehart and Rogers produced some of the most popular Batman stories of all time, although they each produced two stories for Detective Comics with other collaborators.

Englehart wrote a Batman two-part story for Detective Comics #469 and #470, which were drawn by legendary comic book artist, Walter Simonson.  Rogers drew a two-art Batman story for issues #478 and #479, which were written by the late great comic book writer, Len Wein.  However, their work from #471 to #476 is what marks Englehart and Rogers as one of the greatest Batman creative teams of all time.  Although their work covers no more than six issues and is comprised of about only 102 pages, they are six memorable issues and 102 glorious pages.

DC Comics first reprinted Detective Comics #469 to #476 and #478 to #479 in the five-issue comic book miniseries, Shadow of the Batman (December 1985 to April 1986).  Shadow of the Batman #1 reprints the Englehart and Simonson issues, and Shadow of the Batman #5 reprints the Wein and Rogers stories.  Shadow of the Batman #2 to #4 reprints the Englehart-Rogers run.  Rogers also drew double-sided covers for each issue of Shadow of the Batman, and each issue also includes a comics short story drawn by Rogers that appeared in one of DC Comics' 1970s comic book anthology series.  Batman: Strange Apparitions reprints Detective Comics #469 to #476 and #478 to #479, without the Rogers short stories.

Englehart and artist Walt Simonson open Strange Apparitions with a two-part story from Detective Comics #469 (“...By Death's Eerie Light!”) and #470 (“The Master Plan of Dr. Phosphorus”).  The radioactive villain, “Dr. Phosphorus,” is attempting to hold Gotham City hostage, and Batman is having a difficult time with the villain.  Phosphorus has the strength to go toe-to-toe with Batman, and his radioactive touch can burn through Batman's uniform and leave serious burn on the Dark Knight's body.  Phosphorus is also part of a conspiracy that reaches into city hall.  The ringleader of this conspiracy is Boss Rupert Thorne, city council chairman and crime boss.  Englehart also introduces a memorable love interest for Bruce Wayne, Silver St. Cloud, a socialite and eventually, an event planner who comes to realize that Wayne is Batman.

That leads into the first two Steve Englehart-Marshall Rogers issues, Detective Comics #471 (“The Dead Yet Live) and #472 (“I Am the Batman”).  As Bruce Wayne, Batman checks into Graytowers Clinic, where the renowned Dr. Todhunter has a reputation for helping wealthy and powerful men recover physically and mentally.  Batman is hoping to recover from the grave wounds he sustained battling Dr. Phosphorus.  However, Dr. Todhunter is in actuality an old Batman villain, Hugo Strange.  Strange discovers that Bruce Wayne is Batman and incapacitates Wayne so that he can assume the identity of Batman.  Another plot line involves Boss Thorne putting out a contract on Batman's life, which draws the attention of some colorful and familiar Batman enemies.  In “I Am the Batman,” Robin returns to Gotham City to re-team with Batman.

Batman takes on The Penguin in Detective Comics #473 (“The Malay Penguin”) and the assassin “Deadshot” in issue #474 (The Deadshot Ricochet”).  Early in the latter story, Robin ends his temporary reunion with Batman when he is summoned by the Teen Titans.

Englehart and Rogers most famous story in their run occurred in the two-part Detective Comics #475 (“The Laughing Fish”) and #476 (“Sign of the Joker”).  This story features an unambiguously homicidal Joker, whose murderous actions are wholly illogical and consistently capricious.  In this mini-story arc, The Joker uses a chemical to disfigure fish in the ocean, giving them a “rictus grin” (similar to his own ghastly grin).  The Joker brazenly expects to be granted a federal trademark on these grinning fish.  The local government bureaucrats try to explain to the Joker that they cannot help him even if they wanted.  Obtaining such a claim on a natural resource (like the fish) is legally impossible.  So The Joker starts killing these men in the most gruesome way, and Batman begins a desperate and seemingly failing battle to stop the Joker.  Issue #476 is Englehart's final issue.

Marshall Rogers ends his tenure on Detective Comics with a two-part tale written by Len Wein.  The story appears in Detective Comics #478 (“The Coming of... Clayface III!”) and #479 (“If a Man Be Made of Clay...!”) and introduces the third iteration of the classic Batman villain, Clayface.

During his short, but essential run on Detective Comics, Steve Englehart returns Batman to his pulp fiction roots, making him a relentless force for justice.  Marshall Rogers draws Batman as brooding, fearsome, wraith-like, and (indeed) bat-like.  Batman moves about the page in a way that recalls what may be the character's chief inspiration, the pulp hero and vigilante, Walter Gibson's The Shadow.

The Joker also experiences a return to his roots.  Englehart and Rogers present an insane, matter-of-fact, and homicidal Joker, who has a creepy, unsettling grin dominating his face.  This recalls the character originally presented by writer Bill Finger and artists Bob Kane and Jerry Robinson.  As a visual reference for the way Rogers draws The Joker, readers need only take a look at three covers drawn by Jerry Robinson that feature The Joker:  Detective Comics #69 (Nov. 1942) and #71 (Jan. 1943), and also Batman #37 (Oct.-Nov 1946).

Steve Englehart now refers to his 1970s run on Detective Comics as “Dark Detective I,” as precursor to his 2005 miniseries, Batman: Dark Detective, which he now calls “Dark Detective II.”  I read these 1970s Englehart-Rogers Batman stories when I was a pre-teen, again in my late teens, and again in my early thirties, and now in my early 50s.  I can say that, for the most part, these stories have aged well.

Englehart has also said that these stories not only influenced the 1989 Batman movie, but that they are also the reason that film went into development.  I don't know if that is true or not, but I could believe it.  These stories are special enough to influence other Batman storytellers, and in the trade paperback collection, Batman: Strange Apparitions, they prove that they won't fade away.

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

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#IReadsYou Review: GOTHAM BY GASLIGHT: An Alternative History of the Batman

GOTHAM BY GASLIGHT: AN ALTERNATIVE HISTORY OF THE BATMAN
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Brian Augustyn
PENCILS: Michael Mignola
INKS: P. Craig Russell
COLORS: David Hornung
LETTERS: John Workman
EDITOR: Mark Waid
48pp, Color, $3.95 U.S., $4.95 CAN (February 1989)

Batman created by Bob Kane and Bill Finger

Introduction by Robert Bloch

Gotham by Gaslight: An Alternate History of the Batman is a one-shot Batman comic book published by DC Comics in 1989.  Although this comic book's first printing does not carry the logo or imprimatur, Gotham by Gaslight is considered to be the first entry in DC Comics' “Elseworlds” line of comic books.  “Elseworlds” titles feature DC Comics heroes taken out of their usual settings and alters the usual plots and personalities and then, places them in alternate worlds and time lines.

Gotham by Gaslight: An Alternate History of the Batman (Gotham by Gaslight, for short) is written by Brian Augustyn; drawn by Michael “Mike” Mignola (pencils) and P. Craig Russell (inks); colored by David Hornung; and lettered by John Workman.  Gotham by Gaslight is set in late 19th century Gotham City, a time when two mysterious figures arise – one a costumed vigilante and the other a vicious killer – and cause a besieged city to feel even more under siege.

Gotham by Gaslight finds wealthy socialite Bruce Wayne returning to Gotham in May 1889, after being away from his hometown for more than a decade.  After training and consulting great minds and intellects, Wayne is ready to embark on his mission in life.  He will don a costume, cape, and cowl and prowl the night as an other-worldly, garbed vigilante and deliver swift and sometimes vicious punishment to criminals.  Soon, Wayne's activities are the talk of the town and some are referring to his costumed identity as “the Bat-Man.”

However, this “Bat-Man” isn't the only figure of mystery stalking the nights.  Gotham is apparently now the home of a killer that strikes like the infamous “Jack the Ripper,” who terrorized London, England just half a year earlier in 1888.  However, the dual appearance of both “the Bat-Man” and perhaps, Jack the Ripper will make people fearful and stupid and endanger the life of the only man who can stop the killings.

I had not read Gotham by Gaslight: An Alternate History of the Batman in decades until recently, and it still holds up as a strong story.  I would not call Gotham by Gaslight a great comic book, but what writer Brian Augustyn offers here is better than nine out of every ten Batman comic books that DC Comics has published since Gotham by Gaslight.  What Augustyn does is capture the sense of mystery, of the supernatural, and of the storytelling possibilities that writer Bill Finger and artist Bob Kane presented in that very first Batman comic book, Detective Comics #27.

Believe it or not, many Batman comic books cannot recreate the strange magic of early Batman comics, so while, I many not call it great, Gotham by Gaslight is certainly special.  It is a single-issue, stand-alone story – beginning, middle, and end – that joins readers at the hip to a fantastic character and takes them on a fantastic adventure.

On every page of Gotham by Gaslight, artist Mike Mignola gives us at least one striking graphic, like the panel that depicts Batman on a horse, in a full gallop after a carriage.  Inker P. Craig Russell, who is himself an exceptional comic book illustrator, delivers mixed results inking Mignola's pencils – some good, some misfires.  David Hornung uses his colors in imaginative ways; some of coloring turns particular Mignola/Russell pages into paintings of Gothic art quality.

John Workman, who is the comic book letterer as high-artist, makes this story work as a Victorian tale of dread.  Workman's lettering turns some exposition and dialogue into something like journal entries and makes some pages scream out like newspaper headlines.  I don't know if Gotham by Gaslight would capture that primeval Batman vibe quite as well without Workman.

Brian Augustyn would write a sequel, 1991's Master of the Future, but Gotham by Gaslight remains special because there is still nothing like it.  Augustyn and his collaborators wove a spell of magic that would not be repeated, primarily because this creative team would never come together again.  That's a shame.  I think Gotham by Gaslight could have yielded an exceptional follow-up, another one-shot or even a miniseries.

8.5 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 or site for reprint and syndication rights and fees.

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#IReadsYou Review: KICK-ASS VS. HIT-GIRL #1

KICK-ASS VS. HIT-GIRL #1
IMAGE COMICS

[This review was originally posted on Patreon.]

STORY: Steve Niles
ART: Marcelo Frusin
COLORS: Sunny Gho
LETTERS: John Workman
DESIGN: Melina Mikulic
EDITOR: Rachael Fulton
COVER: John Romita, Jr. with Peter Steigerwald
VARIANT COVER ARTISTS: Matteo Scalera; Andre Lima Araujo with Chris O'Halloran
28pp, Colors, 3.99 U.S.(November 2020)

Rated “M/Mature”

Kick-Ass and Hit-Girl created by Mark Millar and John Romita, Jr.

Kick-Ass is a comic book series created by writer Mark Millar and artist John Romita, Jr.  The initial Kick-Ass comic books were published by Marvel Comics' “Icon” imprint, before the series moved to Image Comics.  Kick-Ass is now known as Kick-Ass: The Dave Lizewski Years, and is comprised of four book collections (or graphic novels)

Kick-Ass #1 (cover dated: April 2008) introduced Dave Lizewski, a teenager who becomes a real life superhero.  Dave takes the name “Kick-Ass,” and his superhero activities are publicized on the Internet and inspire other people to become like him.  Dave eventually gets caught up with the ruthless father-daughter vigilante duo, “Big Daddy”/Damon McCready and “Hit-Girl”/Mindy McCready (both introduced in Kick-Ass #3 – cover dated July 2008).  The McCreadys are on a mission to take down the Genovese crime family.

Kick-Ass 2018 (now known as Kick-Ass: The New Girl) introduced a new Kick-Ass.  She was Patience Lee, an Afghanistan war veteran who returned home to Albuquerque, New Mexico and discovered that her husband had left her and also had run up large debts.  Taking on the Kick-Ass identity, Patience started off stealing cash from neighborhood criminals before eventually killing off the local boss and his gang and taking over his operations as the new crime boss, using the name, “Kick-Ass.”

Hit-Girl now travels the world doing her own thing in her own comic books.  But it is time for Kick-Ass/Patience Lee and Hit-Girl to finally meet, and they do so in the new comic book miniseries, Kick-Ass vs. Hit-Girl.  It is written by Steve Niles; drawn by Marcelo Frusin; colored by Sunny Gho; and lettered John Workman, with original Kick-Ass artist, John Romita, Jr. providing cover art.

Kick-Ass vs. Hit-Girl #1 opens in the aftermath of Patience killing her brother-in-law, her sister's husband, Maurice.  At Maurice's funeral, Patience does a lot of thinking, and she decides to destroy the criminal empire that she has built.  But not everyone agrees with that move.  Elsewhere, a young killer makes her noisy arrival in Albuquerque, NM.

THE LOWDOWN:  I am a fan of the Kick-Ass comic book franchise, especially of the comic books produced by both Mark Millar and John Romita, Jr.  I think that the original Kick-Ass series is a revolutionary moment in superhero comic books, probably the biggest shift since the dawn of Marvel Comics in 1961 with the publication of The Fantastic Four #1.  For one thing, Kick-Ass liberated superhero comic books of nostalgia and sentimentality.  This was the first step in creating a comic book that convincingly depicts what it might be like if superheroes existed in our real world.

The post Millar-Romita, Jr. Kick-Ass comic books are entertaining, but they read more like Vertigo crime and hard-boiled comic books than like Kick-Ass superhero comic books.  In this first issue, Marcelo Frusin's graphical storytelling is stylish and fast-moving, filled with edgy drama and hard-hitting violent action.  Writer Steve Niles builds the first issue on anticipation.  He offers a simmer that the readers know will result in explosive, but pivotal violence; readers just have to wait.

The colors by Sunny Gho throb and sometimes take on a neon quality.  The coloring gives this story's edginess a moody filter.  Meanwhile, John Workman does what the best letterers have been doing for decades – create the illusion of an audio track so that a comic book, in this case, Kick-Ass vs. Hit-Girl #1, is a thing of sound and graphics.

So, what is the verdict on Kick-Ass vs. Hit-Girl #1?  Well, I'd like to be cynical, but by the time I reached the last page, I really wanted more.  And I shall come back for more

I READS YOU RECOMMENDS:  Fans of Kick-Ass comic books will want to try Kick-Ass vs. Hit-Girl #1.

7.5 out of 10

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


https://www.steveniles.com/
https://twitter.com/SteveNiles
https://twitter.com/mrmarkmillar
https://twitter.com/ImageComics
https://imagecomics.com/


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

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#IReadsYou Review: THE DARK KNIGHT RETURNS: The Golden Child #1

DARK KNIGHT RETURNS: THE GOLDEN CHILD No. 1
DC COMICS/Black Label

[This review was originally posted on Patreon.]

STORY: Frank Miller
ART: Rafael Grampá
COLORS: Jordie Bellaire
LETTERS: John Workman and Deron Bennett
EDITOR: Mark Doyle
COVER: Rafael Grampa with Pedro Cobiaco
VARIANT COVER ARTISTS: Andy Kubert with Brad Anderson; Frank Miller with Alex Sinclair; Joelle Jones with Dave McCaig; Rafael Grampa with Pedro Cobiaco; Paul Pope with Jose Villarrubia
32pp, Color, $5.99 U.S. (February 2020)

Ages 17+

Batman created by Bob Kane with Bill Finger

Batman: The Dark Knight Returns (also known as DKR) was a four-issue comic book miniseries starring Batman.  Published by DC Comics in 1986, this prestige-format comic book was written by Frank Miller; drawn by Miller (pencils) and Klaus Janson (inks); colored by Lynn Varley; and lettered by John Costanza, with the book covers drawn by Miller and Varley.

DKR told the tale of a 50-year-old Bruce Wayne, long retired as Batman, who dons the cape and cowl again to take on a new crime wave in Gotham City.  When an institutionalized Joker discovers that Batman has returned, he revives himself and begins a new crime wave of craziness.  Batman also battles Superman who is trying to force Batman back into retirement.

DRK was a smash hit, and from the time of its publication, it became a hugely influential comic book, especially on the editorial mindset of DC Comics.  There have been sequels to DKR, as well as other comic books set in its “universe.”  The most recent DKR comic book is Dark Knight Returns: The Golden Child.  It written by Frank Miller, drawn by Rafael Grampá; colored by Jordie Bellaire; and lettered by John Workman and Deron Bennett.  The Golden Child finds the heirs to the legacy of the Dark Knight and the Man of Steel taking on adversaries of their predecessors.

Dark Knight Returns: The Golden Child #1 opens three years after the events depicted in the nine-issue miniseries, Dark Knight III: The Master Race (2015-2017).  Lara, the daughter of Wonder Woman (Diana) and her consort, Superman, has spent that time learning to be more human.  After spending her life with the Amazons of Paradise Island, however, Lara has a great disdain for humans.  Carrie Kelley, the former Robin, has been growing into her new role as The Batwoman, after Bruce Wayne/Batman finally retired.

The Batwoman has been battling the Joker and his gang of Joker clones, who are in full rage as the day of the U.S. presidential election approaches.  [Although he is not named, President Donald Trump's image and presence are prominent throughout this comic book].  But Joker has found a new partner in a terrifying evil that has come to Gotham – Darkseid.  Now, Lara and Carrie must team-up to stop two evils, but their secret weapon, young Jonathan, “the golden child” (Lara's brother and Diana and Superman's son) is also the object of Darkseid's murderous desire.

I really like Dark Knight Returns: The Golden Child, but not because of Frank Miller's story.  It is a hot mess of sound and fury signifying nothing.  It is like someone's incorrect idea that the sound of Jack Kirby is not big (in relation to Darkseid, a character he created), but is histrionics.  Miller does offer a few good ideas, and he is one of the few mainstream comic book creators that could get away with not only casting Donald Trump in a DC Comics title, but also portraying him in an unflattering light.  Teaming-up Joker and Darkseid is not one of Miller's good ideas, and Miller's portrayal of Lara and Jonathan is a mixed bag.  But I can tell that Miller really loves Carrie Kelley, a character he created in DKR.  She is glorious as The Batwoman.

No, I don't love Dark Knight Returns: The Golden Child because of Frank Miller.  I love it because of Rafael Grampa, the Brazilian film director and comic book artist.  Grampa's style in Dark Knight Returns: The Golden Child is a mixture of Frank Miller's graphic style in both Batman: The Dark Knight Returns and in his Sin City series of miniseries and one-shot comic books and also of Scottish comic book artist Frank Quitely's graphic style.

Grampa's gorgeous illustrations and compositions look even better under Jordie Bellaire's inventive coloring and varietal of hues.  But even all that pretty art can't create superb graphical storytelling from Frank Miller's mish-mash of a story, except in a few places – the Batwoman sections of course.  Carrie Kelley is absolutely spectacular in the double-caped, leathery Bat-suit, which also looks like an actual man-sized bat.

Well, you can't get everything, although John Workman and Deron Bennett also deliver some fine-looking lettering.  So I'll be satisfied with Dark Knight Returns: The Golden Child #1 being one of the beautifully drawn and illustrated comic book one-shots that I have ever read.

8 out of 10

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

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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: KICK-ASS #7 (The New Girl)

KICK-ASS No. 7 (2018)
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Steve Niles
ART: Marcelo Frusin
COLORS: Sunny Gho
LETTERS: John Workman
EDITOR: Rachel Fulton
COVER: Marcelo Frusin.
VARIANT COVER ARTISTS: Jock; Rafael Grampa
28pp, Color, $3.99 U.S. (September 2018)

Rated M/Mature

Kick-Ass and Hit-Girl created by Mark Miller and John Romita, Jr.

This year, writer Mark Millar and creator John Romita, Jr. revived their wildly popular superhero comic book series, Kick-Ass.  The duo transitioned from the story of Dave Lizewski, and Kick-Ass (2018) began the story of the “New Girl” who became Kick-Ass, Staff Sergeant Patience Lee, a combat veteran in the Afghanistan part of the “(Global) War on Terror.”

Both Millar and Romita moved on to other projects after the sixth issue of Kick-Ass.  The seventh issue introduces a new creative team.  It is comprised of writer Steve Niles; artist Marcelo Frusin; colorist Sunny Gho; and letterer John Workman.  At this point in the series, the new girl is still kicking ass, but she is making new and even more dangerous enemies.

Kick-Ass #7 finds Sgt. Patience Lee Kick-Ass moving along quite nicely in her new life.  As Kick-Ass, she has taken over and consolidated several criminal gangs.  She takes down drug operations and divides the spoils among the criminals who have joined her new gang.  Lee does this while keeping only $800 from her Kick-Ass operations for herself, and she still works as a waitress at a diner.  The latest self-styled crime lord that she has targeted is Hector Santos, who mostly seems to stay in hiding.  Santos is also a little more savvy than most of the criminals that Kick-Ass has been kicking around, and our anti-hero may be walking into a trap.

I loved and still love the original Kick-Ass comic books, which were published by Marvel Comics' Icon imprint.  Kick-Ass is my favorite work of artist John Romita, Jr., and it is my favorite work of Mark Millar, although his new comic book, The Magic Order, could overtake it.  I was not excited to hear that a new creative team would take over the series with the seventh issue of Kick-Ass (2018).

However, Kick-Ass #7 turns out to be a thoroughly enjoyable comic book.  Writer Steve Niles and artist Marcelo Frusin do not miss a beat in keeping the series consistent with the momentum Millar and Romita, Jr. built over the previous six issues.  The transition from originals to the new creative team for the “New Girl's” story is for all intents and purposes seamless.

In his story and script, Niles slowly builds the tension before exploding the story with a surprising change of plot.  No one can duplicate John Romita Jr.'s unique visual and graphical style, but Frusin makes Kick-Ass his own graphical storytelling feat.  This is still Kick-Ass (2018), but now, this gritty crime story is a gritty crime comic book.  Instead of Romita's explosive pop comics illustrations, Frusin gives us art that recalls recent popular crime comic books like 100 Bullets and Criminal.

Colorist Sunny Gho, who always seems to be offering something new with his comic book coloring, heightens Frusin's sense of tense drama and explosive action with subdued colors.  As always, John Workman proves that he is a master letterer with indispensable fonts and word balloons that are as beautiful as the art and are perfectly placed.

So I need not worry.  Steve Niles and Marcelo Frusin will make sure that Kick-Ass keeps kicking readers' imagination.  I am ready for the next issue.

8.5 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 or site for reprint and syndication rights and fees.

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

Review: ROBOTECH #3

ROBOTECH No. 3
TITAN COMICS – @ComicsTitan

[This review was originally posted on Patreon.]

STORY: Brian Wood
ART: Marco Turini
COLORS: Marco Lesko
LETTERS: John Workman
COVER: David Nakayama
VARIANT COVER ARTISTS: Karl Kerschl; Blair Shedo
28pp, Color, $3.99 U.S. (October 2017)

Titan Comics is currently publishing a new comic book series based on “Robotech” the 85-episode American animated television series, originally syndicated to U.S. back in the mid-1980s.  The new Robotech, which is a slight reboot of the franchise, is written by Brian Wood; drawn by Marco Turini; colored by Marco Lesko, and lettered by John Workman.

Robotech begins when a giant extraterrestrial vehicle crash lands on Macross Island in the South Pacific.  The people of Earth adapt the vessel's alien technology, which they call “Robotechnology,” including harnessing the alien vehicle, now called the Super Dimension Fortress (SDF-1).  It is the epicenter of “The Robotech Project” and of the city built around it, Macross City.  The arrival of an alien armada in the solar system forces the SDF-1 to initiate a “space fold” transporting it and a chunk of Macross City to the edge of the solar system.

Robotech #3 finds SDF-1 Captain Henry Gloval and his crew bringing the people and some of the infrastructure of Macross City unto the ship.  Rick Hunter and Lynn Minmei, who were on a part of Macross City caught in the space fold, are trapped deep in the bowels of the SDF-1.  Tired of eating rations while they wait for rescue, the duo tries something new.  Meanwhile, the alien armada tracks the SDF-1 believing that humans don't really understand the technology in their possession.

Robotech #1 was a fantastic first issue, and the second issue was not a let down.  Robotech #3 begins the process of impressing upon readers that this new Robotech comic book is not a fluke.  Brian Wood digs deep into the characters, and reveals a Lynn Minmei who is a modern woman, a leap from the being the waif and object of desire.  Captain Gloval and Roy Fokker are edgier, and Lisa Hayes and Claudia Grant, well... there's something more to them than they had before.

Even Marco Turini's art and storytelling suggest that this Robotech is something new.  Turini is visualizing space opera that recalls the SciFi Channel's mid-aughts take on “Battlestar Galactica” without loosing heart of Robotech; yeah, it's still a little cute.  My only complaint is that no single issue of Robotech is enough for me.  Can't wait for issue four – fanboy out.

9 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 site for reprint and syndication rights and fees.

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Review: KICK-ASS #1

KICK-ASS No. 1 (2018)
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Mark Millar
PENCILS: John Romita, Jr.
INKS: Peter Steigerwald with Megan Madrigal
COLORS: Peter Steigerwald
LETTERS: John Workman
COVER: John Romita, Jr.
VARIANT COVER ARTISTS: Olivier Coipel with Sunny Gho; Frank Quitely
28pp, Color, $3.99 U.S. (February 2018)

Rated M/Mature

Kick-Ass created by Mark Miller and John Romita, Jr.

Kick-Ass is a comic book series created by writer Mark Millar and artist John Romita Jr.  It began as an eight-issue miniseries published by Marvel Comics under the company's Icon imprint, starting in February 2008 and concluding in February 2010.

Kick-Ass is the story of Dave Lizewski, a teenager who sets out to become a real life superhero.  Dave's actions are publicized on the Internet and inspire other people to put on costumes and play hero.  Dave gets caught up in the activities of two costumed, ruthless vigilantes, an exceptionally talented fighter/killer, Hit-Girl, and her father, Big Daddy.  Father and daughter are on a mission to take down the gangster. John Genovese.

Kick-Ass became a comic book franchise with three follow-up miniseries, the seven-issue Kick-Ass 2 (October 2010 – March 2012),  the five-issue Hit Girl (June 2012 – February 2013), and the eight-issue Kick-Ass 3 (July 2013 to October 2014).  The Kick-Ass comic books yielded two movies, Kick-Ass (2010) and Kick-Ass 2 (2013).

Last year, Mark Millar announced that the Kick-Ass and Hit-Girl comic books were going to be revived in a new series of miniseries slash ongoing series.  The first new six-issue miniseries, entitled Kick-Ass, is written by Mark Millar; drawn by John Romita, Jr. (pencils) and Peter Steigerwald (digital inks); colored by Steigerwald; and lettered by John Workman.

Kick-Ass #1 introduces Staff Sergeant Patience Lee, a combat veteran in the Afghanistan part of the “(Global) War on Terror.”  When she returns to civilian life in Albuquerque, New Mexico, as a wife and mother, Patience discovers that her husband has left her and the children.  Short on money and have to put her dreams on hold, SSG Lee decides that it is time to get paid.  So she puts on a familiar costume...

Because the original Kick-Ass miniseries kept selling out, I originally read the story in its first hardcover collection.  I loved it.  Kick-Ass is so gloriously deranged, and it seems like the ultimate encapsulation of writer Mark Millar's oeuvre, at least to that point in time.

Kick-Ass 2018 is quieter.  It also seems like more of a study of the post-Barack Obama America, with its resentful white middle class, its seething white working class, and its newly invigorated white supremacy slash white nationalist culture.  It is an America in which the balance between the haves and have-nots is completely out of whack because the haves not only want more, they also want it all.  They want it all and will have it all by any means necessary – legal, illegal, or otherwise.  In this America, even black people are turning into the very people and turning to the very systems they have traditionally lambasted – most of which revolves around violence.

John Romita, Jr.'s illustrations, compositions, and graphical storytelling are as powerful as it ever is when put to use for an intense story.  Let's be honest; drawing “real” superhero comic books are mostly a waste of JRJr's time, but Kick-Ass brings out the power, heft, and meatiness of his storytelling.  Here, Romita's art is served by a really good colorist, Peter Steigerwald, and John Workman is one of the few comic book lettering heavyweights capable of placing his fonts inside the Romita, Jr. graphics package.

So Kick-Ass is back, as strong as ever.

8.5 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 or site for reprint and syndication rights and fees.

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

Review: ROBOTECH #2

ROBOTECH No. 2
TITAN COMICS – @ComicsTitan

[This review was originally posted on Patreon.]

STORY: Brian Wood
ART: Marco Turini
COLORS: Marco Lesko
LETTERS: John Workman
COVER: Nick Roche
VARIANT COVER ARTISTS: Karl Kerschl; Blair Shedo; Giannis Milonogiannis
28pp, Color, $3.99 U.S. (September 2017)

“Robotech” was an 85-episode American animated television series.  Production company and film distributor, Harmony Gold USA, distributed the series to television stations in the United States via syndication in the 1980s.  Producer, story editor, and developer, Carl Macek, created “Robotech” by adapting, combining, and editing three Japanese anime series:  “Macross” (full title, “Super Dimension Fortress Macross”) and two other anime series, “Super Dimension Cavalry Southern Cross” and “Genesis Climber Mospeada.”

Over a three-decade period, several entities have published comics based on the Robotech franchise, including the defunct Comico the Comic Company and DC Comics' imprint, WildStorm Productions.  Titan Comics brings Robotech back to comic books with the new series, Robotech.  It is written by Brian Wood; drawn by Marco Turini; colored by Marco Lesko, and lettered by John Workman.

Robotech begins when a giant extraterrestrial vehicle crash lands on Macross Island in the South Pacific.  A decade later, the people of Earth have adapted the vessel's alien technology, which they call “Robotechnology,” to advance human technology.  The ship is now known as the Super Dimension Fortress or SDF-1, and it is the epicenter of “The Robotech Project” and of the city built around it, Macross City.

Robotech #2 finds the Earth under siege by an alien armada.  In Macross City, talented but cocky pilot, Rick Hunter, has taken one of the SDF-1's Veritech fighters out of necessity.  Now, he and his passenger, Lynn Minmei, come face to face with a giant alien being, and neither is sure how to use the Veritech to fight the creature.  Meanwhile, aboard the SDF-1, Captain Henry Gloval comes to a shocking decision on using some of the ship's incredible Robotechnology.

Robotech #1 was a fantastic first issue; so is this second issue.  Like the first issue, I like Robotech #2 enough to highly recommend it to Robotech fans.  Once upon a time, I was a big Robotech fan; now, I have not engaged the franchise in decades, but this comic book has reignited my Robotech love.

Right now, I am looking for two things in this new Robotech comic book.  One, I want it to be a well-produced comic book with good writing, good art, and overall engaging storytelling.  Two, I want it to recall classic Robotech while also exploring new possibilities for the series and also going places the original might have, but did not.

So far, I'm getting both of those things from this very entertaining comic book.  It is as if Brian Wood and Marco Turini have mastered the 22-page comic book serial, delivering lively pop comic increments... so far.  In fact, this second issue is good enough to tease readers back for a third issue of Titan Comics' Robotech.

A
8.5 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 site for reprint and syndication rights and fees.

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Review: ROBOTECH #1

ROBOTECH No. 1 (2017)
TITAN COMICS – @ComicsTitan

[This review was originally posted on Patreon.]

STORY: Brian Wood
ART: Marco Turini
COLORS: Marco Lesko
LETTERS: John Workman
COVER: Stanley “Artgerm” Lau
VARIANT COVER ARTISTS: Stanley “Artgerm” Lau; Karl Kerschl; Blair Shedo; Michael Dialynas; The Waltrip Brothers; Andrew Leung; Luis Guerrero; Francisco de la Fuente; Miguel Mercado; Rachel Stott; Alex Ronald; Andre Lima Arajuo; Caspar Wijngaard; Mariano Laclaustra; Antonio Fuso; Douglas Franchin; Andy Cotnam; Pasquale Qualano
28pp, Color, $3.99 U.S. (August 2017)

In the 1980s, production company and film distributor, Harmony Gold USA, had the U.S. syndication rights to broadcast the Japanese animated (or anime) television series, “Macross.”  They hired producer, story editor, and developer, Carl Macek, to adapt the series for American audiences.

To meet television syndication requirements, Macek took “Macross” (full title, “Super Dimension Fortress Macross”) and two other anime series, “Super Dimension Cavalry Southern Cross” and “Genesis Climber Mospeada” and edited them together by using the concept of “Robo-technology” as the unifying element.  Thus, Macek created the 85-episode American animated TV series, “Robotech.”

Over a three-decade period, several entities have published comics based on the Robotech franchise, including the defunct Comico the Comic Company and DC Comics' imprint, WildStorm Productions.  Titan Comics brings the franchise back to comic books with the new series, Robotech.  It is written by Brian Wood; drawn by Marco Turini; colored by Marco Lesko, and lettered by John Workman.

Robotech #1 begins with a brief description of the arrival of the giant extraterrestrial vehicle that would come to be known as the Super Dimension Fortress or SDF-1.  It lands on Macross Island, and a decade later, the vehicle is the epicenter of “The Robotech Project” and Macross City has been built around the SDF-1.

Talented but cocky pilot, Rick Hunter, has arrived at SDF-1 to visit his “big brother,” Lt. Commander Roy Fokker, Veritech pilot and legendary leader of the “Skull Squadron” of the Robotech Defense Force.  This reunion is put on hold when multiple extraterrestrial vehicles arrive near Earth and some begin to enter the planet's atmosphere.  And SDF-1 springs into action on its own.

First, let me say that Robotech #1 is a fantastic first issue.  I love it, and I highly recommend it to Robotech fans.  Probably the first thing that this comic book does right is to use the first page to present the cast of characters with a brief description of each character and what he or she does.

Back in 2013, Dark Horse Comics launched a new Star Wars comic book, simply titled Star Wars.  Its story was set immediately after the events depicted in the original, 1977 Star Wars film (also known as Star Wars: Episode IV – A New Hope).  Brian Woods was the series writer, and he fashioned a Star Wars comic book that felt like an authentic, accurate, and canonical continuation of A New Hope.  Now, at least with this first issue, Woods makes Robotech seem like a reboot that will be genuine Robotech.  To me, Robotech #1 feels like the “Robotech” anime that I first encountered on those long-ago Saturday mornings via the recently launched Channel 15 in Lafayette, Louisiana.

I find myself really liking the art by Marco Turini and colors by Marco Lesko; it feels like authentic Robotech.  Turini's compositions clearly and ably translate Woods' concise and efficient script writing into clean sequences that introduce the conflict and tease the villains of this reboot without overwhelming the first issue with too much information.

In fact, this debut issue is good enough to tease readers back for a second issue of Titan Comics' Robotech.

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 site for reprint and syndication rights and fees.

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Review: MOTHER PANIC #2

MOTHER PANIC No. 2
DC COMICS/Young Animal – @DCComics

STORY: Jody Houser
ART: Tommy Lee Edwards
COLORS: Tommy Lee Edwards
LETTERS: John Workman
COVER: Tommy Lee Edwards
VARIANT COVER: Paul Rentler
32pp, Color, $3.99 U.S. (February 2017)

Mature Readers

Mother Panic created by Gerard Way, Jody Houser, and Tommy Lee Edwards

“A Work in Progress” Part 2

Young Animal is a recently-launched DC Comics imprint.  It is curated by rock musician (My Chemical Romance) and comics creator, Gerard Way (The Umbrella Academy).  The first three Young Animal titles that were released were remakes and re-imaginings of two Silver Age DC comics series (Doom Patrol, Cave Carson Has a Cybernetic Eye) and one cult property (Shade the Changing Man has become Shade the Changing Girl).

Mother Panic is a brand new comic book creation about a brand new vigilante who calls Gotham City (Batman's hometown) her stomping grounds.  The series stars wealthy prodigal daughter, Violet Paige, who returns to Gotham to clean up the city's filthy, disturbed underbelly while pretending to be a “celebutante.”  Mother Panic is written by Jody Houser; illustrated by Tommy Lee Edwards; and lettered by John Workman.

Mother Panic #2 opens as Violet prepares to take down Mr. Hemsley and to trace a sex trafficking ring to its source.  First, she will have to find Hemsley, and what better place than the 2017 Gotham Victims Fund Gala.  However, Violet's mission is tied to her own troubled past, which may affect her ability to... ahem... execute her plan.  Plus, a Gotham hero makes a cameo.

From reading different web articles, I gather that the point of Mother Panic is to present stories from Batman's hometown that are too disturbing to be told in Batman comic books that are marketed to readers of all-ages.  Mother Panic is basically a quasi Batman-related title for adult readers.  I was only mildly interested after reading the first issue, but I feel different after reading Mother Panic #2.

In my review of the first issue, I said that Mother Panic might turn out to be a really good title, but I found that the first issue teased the reader and only offered standard superhero fare (violence).  However, I am starting to find Violet Paige to be an intriguing and likable character.  There is something cool about her costume and “flying” motorcycle, but there is something even cooler, Violet's emerging personality.  I am reviewing Mother Panic #2 via a PDF that DC Comics makes available to reviewers.  I feel confident in recommending Mother Panic because I will read the next PDF and may eventually start buying the comic book.

[This issue includes a bonus story “Gotham Radio Scene One: The Morning After” by Jim Krueger, Phil Hester, Ande Parks, Trish Mulvihill, and Deron Bennett.]

B+

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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