#IReadsYou Review: RUMPUS ROOM #1

RUMPUS ROOM #1 (OF 5)

AWA STUDIOS

STORY: Mark Russell

ART: Ramon Rosanas

COLORS: Ive Svorcina

LETTERS: Andworld Design

COVER: Tony Harris

VARIANT COVER ARTISTS: Mike and Laura Allred; Mark Russell; Tony Harris

32pp, Color, $3.99 U.S. (September 2023)

Rated: “Mature”

Rumpus Room is a new five-issue miniseries from AWA Studios.  It is written by Mark Russell; drawn by Ramon Rosanas; colored by Ive Svorcina; and lettered by Andworld Design.  The series pits a group of prisoners against their jailer, a billionaire who needs their organs and fluids.

Rumpus Room #1 introduces Bob Schrunk.  He is a tech billionaire, collector of bad art, and sufferer of a terrible skin condition.  That condition can only be treated by a special face cream that comes from deep in the bowels of his Rumpus Room.  Enter Erica Hernandez.  She is looking for her missing sister, Olivia, who apparently worked for Schrunk's company – not that he'd care.  Erica is about to discover the awful truth.

THE LOWDOWN:  AWA Studios' marketing recently began providing me with PDF review copies of their comic book publications.  Rumpus Room #1 is the latest.

I was a huge fan of writer Mark Russell's 2015 reboot of DC Comics' decades old weird comic book series, Prez (1973-74).  Luckily, Rumpus Room is in the vein of the cleverly satirical Prez, only darker, as well as being uncomfortably plausible.  It has an accent that recalls the meanness of Stanley Kubrick's A Clockwork Orange (1971), but elements of Rumpus Room seem more Clive Barker than Anthony Burgess.

I love the work of the late English comic book artist, Steve Dillon (1962-2016).  In Rumpus Room, artist Ramon Rosanas captures the concise layouts and simplicity of composition that Dillon used to create conflict, tension, and intensity with substance rather than with sound and fury.  I find Rosanas' storytelling mesmerizing, so much so that by the end of this series, Rosanas may have me back on that crack pipe.

Recently, I found another celebrity comics creator whining about the horrid state of the American comics industry.  Maybe, if more readers stopped dry-humping the dead horse that is the Marvel/DC Comics slab of the market and focused on what a publisher like AWA Studios is doing, they'd be happy comic book readers.  So, dear readers, let's enjoy the good stuff, like Rumpus Room #1.

I READS YOU RECOMMENDS:  Fans of Mark Russell's unique brand of comic books will want Rumpus Room.

A

★★★★ out of 4 stars

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

AWA Website: https://awastudios.net/

AWA Instagram: https://www.instagram.com/awastudiosofficial/

AWA Twitter: https://twitter.com/AWA_Studios

AWA Facebook: https://www.facebook.com/awastudiosofficial

The text is copyright © 2023 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: CATWOMAN #1 (2018)

CATWOMAN No. 1 (2018)
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Joelle Jones
ART: Joelle Jones
COLORS: Laura Allred
LETTERS: Josh Reed
EDITOR: Jamie S. Rich
COVER: Joelle Jones with Laura Allred
VARIANT COVER: Stanley “Artgerm” Lau
32pp, Color, $2.99 U.S. (November 2016)

Rated “T” for “Teen”

Batman created by Bill Finger and Bob Kane

“Copycats” Part 1

I will start off with a spoiler.  In case you, dear reader, did not know, Catwoman and Batman did not get married.  After 25 issues of filler stories about the complexities and weirdness of their engagement, Catwoman realized that if she married Bruce Wayne, he would stop being Batman.  And the world needs Batman.

Now, Catwoman has a new ongoing comic book series, and yes, dear reader, the first issue is worth your time and money.

Catwoman is a DC Comics villain/anti-heroine most commonly associated with the DC Comics superhero, Batman (in case you, dear reader, did not know). Catwoman was created by Batman's creators, writer Bill Finger and artist Bob Kane.  Catwoman made her debut under the name, “the Cat” in Batman #1 (cover dated: June 1940).  “The Cat” was really Selina Kyle, a Gotham City burglar, and she would go on to be Batman/Bruce Wayne's most enduring love interest.

The new Catwoman comic book is written and drawn by Joëlle Jones.  The creative team is filled out be colorist, Laura Allred, and letterer, Josh Reed.

Catwoman #1 opens with Selina Kyle enjoying time at the gambling table, while Catwoman shoots two police officers to death!  Suddenly a hunted woman, Selina discovers that she is wanted as both Catwoman and in her civilian identity.  Who is behind this?  Well, it isn't just one person...

I was cynical about Catwoman #1.  I have mixed feelings about Joëlle Jones.  I like some of her art.  I have no feelings about some of it.  And I think the rest is ugly.

However, I feel invigorated after reading Catwoman #1.  The story really takes off, and Jones tells a it in a graphical language that is like a cat bounding from one hot tin roof to another.  Jones plays off Catwoman's natural sultriness and sexiness, but presents her as a character always in motion.  The story moves in that manner.

Laura Allred's almost-flat coloring gives the illustrations a visual appearance that blends art deco and an urban grittiness that is not quite Film-Noir.  Josh Reed's lettering is solid, but not spectacular, which is a good thing.  He should not get in the way of these killer creative ladies, Jones and Allred.

8 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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Review: BUG! The Adventures of Forager #1

BUG! THE ADVENTURES OF FORAGER #1
DC COMICS/Young Animal – @DCComics

[This review was originally posted on Patreon.]

STORY: Lee Allred
ART: Michael Allred
COLORS: Laura Allred
LETTERS: Nate Piekos of Blambot
COVER: Michael Allred with Laura Allred
VARIANT COVERS: James Harvey; Paul Pope with Paul Maybury
32pp, Color, $3.99 U.S. (July 2017)

Mature Readers

The Bug and Fourth World characters created by Jack Kirby

“Domino Effect: Part 1 of 6 “Bughouse Crazy”

Forager is a DC Comics character that first appeared in New Gods #9 (cover dated:  August 1972).  Created by writer-artist Jack Kirby, Forager was a character in Kirby's “Fourth World” universe.  Forager's people were a society of humanoid bugs that thrived in colonies built beneath the surface of the planet, New Genesis.  Forager lived among these beings, but was apparently really not one of them.  The character was later killed in DC Comics' Cosmic Odyssey (1988) miniseries.

Forager returns in the new comic book, Bug! The Adventures of Forager, published under DC Comics' “Young Animal” imprint.  This imprint, curated by rock musician/comics creator, Gerard Way, reinvents, re-imagines, and modernizes eclectic, oddball, and cult characters (Doom Patrol and Cave Carson, among others) in new comic books series.  Bug! is written by Lee Allred; drawn by Mike Allred; colored by Laura Allred; and lettered by Nate Piekos.

Bug! The Adventures of Forager #1 (“Domino Effect”) opens with Forager finding himself alive again!  After he meets “Ghost Girl” and her teddy bear, Forager learns that he might be dreaming, but can a corpse dream?  Then, there are the weirdies and beasties and... The Sandman.

Bug! The Adventures of Forager is a family affair.  Lee Allred and Mike Allred are brothers, and Mike and Laura Allred are married.  I guess that is kind of neat, but even neater is this comic book.  Bug! The Adventures of Forager is a good-old-fashioned comic book – full of fun, adventure, and strangeness.  It is wild, weird, and wonderful.

I have had mixed feelings about Mike Allred's comics over two decades+ reading them, but I like Allred's touch with the more eccentric Jack Kirby characters, such as Allred recent run, with Dan Slott, on Marvel Comics' Silver Surfer, a classic Kirby character.  There is such delightful kookiness in Bug! The Adventures of Forager.  I liked it so much that I wanted to read the next issue right away, and that is one of the highest compliments I can give as a comics reviewer.  I am also going to do something I don't always do – give a grade to a first issue.

I implore you to try at least this first issue.

A

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


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

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Review: DOOM PATROL #2

DOOM PATROL No. 2 (2016)
DC COMICS/Young Animal – @DCComics

[This review was originally posted on Patreon.]

STORY: Gerard Way
ART: Nick Derington
COLORS: Tamra Bonvillain
LETTERS: Todd Klein
COVER: Nick Derington
VARIANT COVERS: Mike and Laura Allred
40pp, Color, $3.99 U.S. (December 2016)

Mature Readers

Doom Patrol created by Arnold Drake

“Negative World” Part Two: “Brick by Brick 2”

The 2016 Doom Patrol is the latest iteration of DC Comic's Silver Age superhero team of the weird.  Part of the new DC Comics imprint, “Young Animal,” the new Doom Patrol is written by Gerard Way; drawn by Nick Derington; colored by Tamra Bonvillain; and lettered by Todd Klein.

Doom Patrol #2 (“Brick by Brick 2”) finds ambulance driver, Casey Brinke, and her partner, Samuel, getting the most peculiar emergency calls.  For instance, there is the raving lunatic who might be Larry Trainor.  Also, Robotman awakens; more Doom Patrol members from the past begin to appear, and there is a reunion and more extra-dimensional weirdness.

Gerard Way is certainly building his new Doom Patrol (DP) brick by brick.  With this second issue, however, there is just as much of the story becoming clear as there is of it remaining weird and vague.  Readers will like that more members of the original DP appear, as well as a somewhat infamous member.  After reading this second issue, I think that Grant Morrison's late 1980s, early 1990s Doom Patrol is the primary template for the Young Animals DP.  I don't yet know if that is a good thing, although I am a fan of Morrison's DP.

I still really like the art by Nick Derington.  No, I think I am falling in love with Derington's simple, clean style that looks like an indie comics version of Silver Age comic book art and also has a passing resemblance to the art of Chris Samnee.  It's great graphical storytelling simply because the art makes you want to keeping reading, being excited for each new page.

I am still recommending the Young Animal Doom Patrol.  Although I want more, I am not ready to give it a review grade.

[This comic book contains a “special sneak preview” of Cave Carson Has a Cybernetic Eye #1 by Gerard Way and Jon Rivera and Michael Avon Oeming.]

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


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

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Review: SHADE THE CHANGING GIRL #1

SHADE THE CHANGING GIRL No. 1
DC COMICS/Young Animal – @DCComics

[This review was originally posted on Patreon.]

STORY: Cecil Castellucci
ART: Marley Zarcone
COLORS: Kelly Fitzpatrick
LETTERS: Saida Temofonte
COVER: Becky Cloonan
VARIANT COVERS: Duncan Fegredo; Tula Lotay
32pp, Color, $3.99 U.S. (December 2016)

Mature Readers

Shade created by Steve Ditko

“Earth Girl Made Easy” Chapter 1: “Running Off to the Great Blue”

Shade is a weird DC Comics character created by Steve Ditko that first appeared in the comic book, Shade the Changing Man #1 (cover dated:  June 1977).  The series focused on Rac Shade, a secret agent from a world in another dimension who comes to clear his name of a treason charge which carries a death sentence.  Over the decades since the character first appeared, Shade has been reworked and re-imagined by other comics creators.

Now, Shade the Changing Man gets the “Young Animal” treatment and becomes Shade the Changing Girl in a new comic book series from DC Comic's Young Animal imprint.  The comic book is written by novelist Cecil Castellucci; drawn by Marley Zarcone; colored by Kelly Fitzpatrick; and colored by Saida Temofonte.

Shade the Changing Girl #1 (“Running Off to the Great Blue”) opens in the hospital room of Megan Boyer, a brain-dead teenage girl.  However, an alien teen girl, an avian named Loma Shade, decides to take possession of Megan's body.  Not everyone, however, is happy to see the 16-year-old Megan back on her feet.  Meanwhile, on Loma's home world of Meta, someone wants the “Madness Vest” found.

Like Doom Patrol, the first Young Animal title to hit comic book stories, Shade the Changing Girl's inaugural first issue is about introduction, teasing, and some vagueness.  However, writer Cecil Castellucci grounds Shade the Changing Girl #1 with some edgy, background supporting character drama.  Castellucci writes “Young Adult” novels, but she is known in comic books for her superb, two-volume graphic novel series, The P.L.A.I.N. Janes, so she knows her way around the dark side of teen politics and high school society.

Shade the Changing Girl artist Marley Zarcone offers some of the most imaginative comic book art that I have seen in quite awhile in mainstream superhero comic books.  Vivid and trippy, Zarcone's graphical storytelling goes afar, but not so far that the story turns into a shallow mess of surrealism right out of high school poet's notebook.  I look forward to future issues.

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This comic book contains the comics short story, “Cryll's Big Surprise” by Natalia Hernandez and Gilbert Hernandez with Saida Temofonte and Laura Allred.]

Meanwhile, Gilbert and Natalia Hernandez offer a cute and clever back-up story.  I hope this is not a one-off for this team.

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


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

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Review: SILVER SURFER #1

SILVER SURFER No. 1 (2016)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Dan Slott
ART: Michael Allred
COLORS: Laura Allred
LETTERS: VC's Joe Sabino
COVER: Michael Allred and Laura Allred
VARIANT COVERS: Marco Rudy; Cliff Chiang
28pp, Color, $3.99 U.S. (March 2016)

Rated T+

“Homecoming”

The Silver Surfer is a Marvel Comics superhero and space fantasy character.  He was created by Jack Kirby and first appeared in Fantastic Four #48 (cover dated:  March 1966).  The Silver Surfer is a humanoid with metallic skin (white or gray or white/gray swirl), and he travels space with the aid of his surfboard-like craft (or maybe, it's an actual surfboard).

The Silver Surfer was a young astronomer named Norrin Radd.  He saved his home world, Zenn-La, from Galactus, a being that devoured planets, by agreeing to serve as his herald.  Galactus imbued Radd with a tiny portion of his “Power Cosmic,” and he became the Silver Surfer.  Traveling faster than the speed of light, the Silver Surfer roamed the cosmos, searching for planets for Galactus to consume.  When Galactus prepared to devour Earth, the Surfer rebelled and saved the planet.  Galactus punished the Surfer and expelled him from his service.

With the arrival of the “All-New, All-Different Marvel,” Silver Surfer gets a new comic book series.  Silver Surfer 2016 is really just a continuation of the Silver Surfer title that debuted in 2014, as both have the same creative driving force.  That is writer Dan Slott and artist Michael Allred.  This creative team is assisted by Laura Allred on colors and Joe Sabino on letters.

Silver Surfer #1 (“Homecoming”) opens with an alien menace, The Hordax, transmitting a threat to the entire Earth.  They are coming to plunder our planet of its “greatest resource.”  Even President Barack Obama and First Lady Michelle Obama are witness to this ominous declaration.

Meanwhile, Dawn Greenwood, who travels the space-ways with the Silver Surfer, is returning to Earth to visit her father and identical twin sister, Eve.  Silver Surfer gets to experience a Greenwood family mash-up celebration that combines a belated birthday party with three holidays.  When things turn weird, however, the Surfer finds himself battling aliens he thought he had already defeated.

When the 2016 Will Eisner Awards (for excellence in comics) were announced recently, I noticed that the previous Silver Surfer series had received several nominations.  So I decided to try an issue of the new series and luckily a local comic book shop still had copies of the first issue.

A long time ago, a writer in the venerable and late magazine of comics criticism and examination, The Comics Journal, wrote that the Silver Surfer was one of the few truly original comic book superheroes.  I agree.  How the hell did that character pop into Jack Kirby's mind?  If I remember correctly, in plotting the story that would introduce Galactus, Marvel Comics' legendary editor-writer-head honcho, Stan Lee, supposedly only told Kirby that Galactus had a herald, without specifying what the character should be.  When he received Kirby's art boards for the story, Lee was allegedly shocked to discover the Silver Surfer soaring across the pages that Kirby had drawn.  Such a unique character should be featured in unique stories.

I like Dan Slott's work as the writer of The Amazing Spider-Man, which I have only been reading for the last three years or so.  My admiration of Mike Allred is mixed.  I have liked some of his comics, especially X-Statix, but I have been ambivalent about the rest.  I like the off-beat vibe Slott and Allred give Silver Surfer.  That vibe is best exemplified by this duo's notion of what Earth's “greatest resource” is.

I am not sure that I would read Silver Surfer on a regular basis.  I need to read more to decide what I truly think of the series, and I plan to try a few more issues.  I like the pop comics and pop art comics sensibilities of the Slott-Allred Silver Surfer.  It may not be an original vision, but it certainly stands out in the current roster of Marvel titles.

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


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

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Review: GUARDIANS OF THE GALAXY #1

GUARDIANS OF THE GALAXY (2015) No. 1
MARVEL COMICS – @Marvel

[This review originally appeared on Patreon.]

WRITER: Brian Michael Bendis
ART: Valerio Schiti
COLORS: Richard Isanove
LETTERS: VC’s Cory Petit
COVER: Art Adams with Dave Stewart
VARIANT COVERS: Valerio Schiti with Richard Isanove; Jason Latour; Shawn Crystal with Chris Brunner; Mike and Laura Allred; John Tyler Christopher; Contagious Costuming and Judy Stephens
28pp, Color, $3.99 (December 2015)

Rated “T”

The Guardians of the Galaxy are a Marvel Comics superhero team.  Created by writer Arnold Drake and artist Gene Colan, the team first appeared in Marvel Super-Heroes #18 (cover dated: January 1969).  However, the best known version of the Guardians of the Galaxy first appeared in 2007.  Created by writers Dan Abnett and Andy Lanning, the team's initial roster included Star-Lord, Rocket Raccoon, Quasar, Adam Warlock, Gamora, Drax the Destroyer, and Groot.

Star-Lord, Rocket Raccoon, Gamora, Drax the Destroyer, and Groot would go on to be the stars of Marvel Studios' surprise 2014 hit film, Guardians of the Galaxy.  With the launch of the “All-New, All-Different Marvel,” there is a new Guardians of the Galaxy comic book.  The series is written by Brian Michael Bendis; drawn by Valerio Schiti; colored by Richard Isanove; and lettered by Cory Petit.

Guardians of the Galaxy #1 features the team of Kitty Pryde as Star-Lord, Drax, Rocket Raccoon, Groot, The Thing, and Venom.  A run-in with the Chitauri leaves the group with a mysterious item and no knowledge of how powerful or dangerous that object is.  Meanwhile, on Planet Spartax, Peter Quill, the original Star-Lord, finds his new life as King to be an utter bore.  He does not realize that excitement is bound to return in many ways...

I last read Guardians of the Galaxy during the story arc, “The Trial of Jean Grey,” a crossover event with All-New X-Men.  Then, I didn't find a reason to keep reading.  I am not sure that this first issue gives me a reason to keep reading this new series, now.  It is not as if this new Guardians of the Galaxy #1 is awful or anything; besides, I am a fan of writer Brian Michael Bendis.  New series artist Valerio Schiti delivers some pretty art and solid storytelling.

I guess it is just that I got this first issue because I am trying to read as many #1 issues in the “All-New, All-Different Marvel” as I can.  I don't plan on reading as many #2 issues, I can tell you that, dear reader.  This is not a bad comic book... I reiterate.  I think fans of the modern incarnation of the Guardians of the Galaxy will enjoy this comic book.  It is just that if money is tight for you, dear reader, this comic book is not worth $3.99 if you are not a fan.

Reviewed by Leroy Douresseaux


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

I Reads You Review: ALL-NEW MIRACLEMAN Annual #1

ALL-NEW MIRACLEMAN ANNUAL #1
MARVEL COMICS – @Marvel

WRITERS: Grant Morrison, Peter Milligan
ART: Joe Quesada, Mike Allred
COLORS: Richard Isanove, Laura Allred
LETTERS: Chris Eliopoulos, Travis Lanham
COVER: Gabriele Dell'Otto
36pp, Color, $4.99 U.S. (February 2015)

Mature Content – Parental Advisory for Strong Language & Content

Miracleman (Marvelman) created by Mick Anglo

All-New Miracleman Annual #1 is a one-shot comic book published on New Year's Eve 2014 (Wednesday, December 31, 2014).  It contains two stories set in the world of Alan Moore and Gary Leach's revived and re-imagined version of Marvelman, the 1950s and early 1960s British superhero character created by British comic book writer-artist, Mick Anglo.

When Alan Moore's Marvelman was brought to America and reprinted by the late Eclipse Comics, it was renamed Miracleman.  After acquiring the rights to the Marvelman characters, Marvel Comics is currently reprinting the material produced by Warrior and reprinted by Eclipse and also, Eclipse's own Miracleman comics that it began publishing in the mid-1980s.

The first story in All-New Miracleman Annual #1 is The Priest and the Dragon: “October Incident: 1966.”  It is a Marvelman-related story written by Grant Morrison for the British comic magazine, Warrior, the home of Moore's Marvelman revival.  No art was produced for the story after it was originally written, and it was put on hiatus when Warrior ceased publication (according to the “Behind the Scenes” section of All-New Miracleman Annual #1).

The story finally sees light with art by former Marvel Comics Editor-in-Chief Joe Quesada (now Chief Creative Officer of Marvel Worldwide, Inc.).  The story centers on an elderly priest who had an encounter, three years before this story begins, with Johnny Bates a.k.a. Kid Miracleman.  The story, really, is a vignette, but it is the kind of vignette that can be very powerful and effective with the right artist.  Joe Quesada is an effective graphical storyteller, so this story allows us to see Quesada working as a storytelling comic book artist, which he has not been for much of the last decade and a half.  Even the lettering by Chris Eliopoulos for this story is potent.

The second story features the Miracleman Family (the Marvelman Family):  Miracleman, Young Miracleman, and Kid Miracleman.  The story, entitled “Seriously Miraculous,” is written by Peter Milligan and is drawn by Mike Allred with colors by Laura Allred and letters by Travis Lanham.  I think that this is an entirely new story.

The story pits the Miracleman Family against the Dictator of Boromania and his hired gun, Gargunza, a Miracleman adversary.  While constantly foiling assorted diabolical, but weird plots, Miracleman notices something strange about the places where he and his family have fought.

“Seriously Miraculous” is a hugely enjoyable story.  Peter Milligan's name is not often mentioned among the great British comic book writers who started producing work for U.S. comic book publishers in the 1980s and 90s, but it should be.  I don't think that I have ever read something by him that was not interesting or inventive or both.  He may not have created a Watchmen or a Sandman, but he is never ordinary.

In “Seriously Miraculous,” he has written a story that perfectly plays to Mike Allred's retro-modern style, but not just in terms of style.  Milligan and Allred come together for a story that pays homage to Mick Anglo's old Marvelman comics, but also hints at Alan Moore and Gary Leach's revival, while allowing Allred to add his ironic and surreal touches.

Milligan and Allred are a good team, and Quesada brings Morrison's decades-old story to life with the kind of power that it might not have had it been drawn when it was originally intended.  All-New Miracleman Annual #1 is a must-have in this second revival of Marvelman/Miracleman.

A

Reviewed by Leroy Douresseaux


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

I Reads You Review: BATMAN ’66 MEETS THE GREEN HORNET #1

BATMAN ’66 MEETS THE GREEN HORNET #1
DC COMICS/DYNAMITE ENTERTAINMENT – @DCComics and @dynamitecomics

WRITERS: Kevin Smith and Ralph Garman
ARTIST: Ty Templeton
COLORS: Tony Avina
LETTERS: Wes Abbott
COVER: Alex Ross
VARIANT COVER: Michael Allred and Laura Allred
28pp, Color, $2.99 U.S. (August 2014)

Rated E (Everyone)

Starring Adam West as Batman and Burt Ward as Robin, the television series, “Batman,” debuted on the ABC television network in January 1966 and was an immediate success.  That apparently encouraged Greenway Productions and 20th Century Fox Television, the company’s behind “Batman,” to bring another costumed superhero to network television.

Later that same year, ABC debuted “The Green Hornet,” a television series based on The Green Hornet, a character that first appeared on radio.  Van Williams starred as the Green Hornet and his civilian identity, Britt Reid, and the legendary Bruce Lee played the Hornet’s martial-artist partner, Kato.  The series ran for one season from 1966 to 1967.

Van Williams and Bruce Lee made cameo appearances as the Green Hornet and Kato on the Batman TV series, during the second season.  Later that same season, the Green Hornet and Kato appeared in the two-part episode, “A Piece of the Action” and “Batman's Satisfaction” (first aired on March 1–2, 1967).  The episodes feature the Green Hornet and Kato in Batman’s Gotham City, trying to foil a counterfeit stamp ring run by Colonel Gumm.

Debuting in 2013, Batman ’66 is a comic book series that is inspired by the classic 1960s “Batman” TV series.  Now, DC Comics is publishing a Batman ’66 miniseries that teams Batman and Robin of that show with the Green Hornet and Kato of the 1966-67 television program.  Entitled Batman ’66 Meets The Green Hornet, the six-issue comic book miniseries is written by Kevin Smith and Ralph Garman, drawn by Ty Templeton, colored by Tony Aviña, and lettered by Wes Abbot.

Batman ’66 Meets The Green Hornet #1 (“On the Wrong Track’) finds millionaire Bruce Wayne, who is Batman, and his young ward, Dick Grayson, who is Robin, at home in stately Wayne Manor.  Bruce and Dick are discussing Dick’s date with a young woman for later in the evening, but this domestic scene is about to be interrupted.

A call from Commissioner Gordon of the Gotham City Police Department alerts Bruce to potential trouble.  Soon, Bruce is aboard the Gotham Express, accompanying a priceless fossil collection as it is being transported to another city.

Once aboard, Bruce discovers that he is acquainted with two other passengers:  playboy and media mogul Britt Reid, the owner and publisher of the big city newspaper, The Daily Sentinel, and Kato, Reid’s valet.  It seems that they are also concerned about the safety of the fossil collection.  They are about to discover, however, that a villain, familiar to Batman and the Green Hornet, wants the fossils, and it will take the combined effort of Batman and Robin and The Green Hornet and Kato to stop him.

As a child, I was a huge fan of the 1960’s ABC Batman program; as an adult, I like the series, but not as much as I once did.  I like ABC’s similar series, “The Green Hornet,” but I doubt that I have seen even half the episodes that aired during the series’ single season, which numbers at 26, I think.

I don’t know how to describe what I think or even how I feel about Batman ’66 Meets The Green Hornet.  Perhaps, I am mildly entertained.  It is like an homage to the original television series that is not sure if it should send up the originals or pen a love letter.  I can see the heavy-hand of Kevin Smith, the movie director who has been writing comic books since the 1990s.  I think Smith wants this comic book to seem like the old TV shows, but also seems as if he is not sure if the politically correct thing to do is mock the television shows or to slavishly imitate them.

I have been an admirer of artist Ty Templeton, but his work on Batman ’66 Meets The Green Hornet is mechanical.  Even the coloring is unimaginative.  Will I read more of this?  If I am overcome by nostalgic love for the old TV shows, I might.

C+

Reviewed by Leroy Douresseaux


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

I Reads You Review: BATMAN '66 #1

BATMAN ’66 #1
DC COMICS – @DCComics

WRITER: Jeff Parker
ARTIST/COLORS: Jonathan Case
LETTERS: Wes Abbott
COVER: Michael Allred and Laura Allred
VARIANT COVER: Jonathan Case
36pp, Color, $3.99 U.S. (September 2013)

Rated E (Everyone)

Batman ’66 is one of DC Comics’ digital-first comics.  These digital comics are initially released in a digital format to be read on computers, smart phones, and other handheld devices.  Print editions follow digital publication.

Batman ’66 is inspired by the classic American TV series, “Batman,” from 20th Century Fox Television and Greenway Productions.  Batman was a live action television series based on the DC Comics comic book character, Batman, and starred Adam West as Batman and Burt Ward as Robin, the two crime-fighting heroes who defend Gotham City.  “Batman’s” original run on television lasted for three seasons, from January 12, 1966 to March 14, 1968, for a total of 120 episodes.

Batman ’66 #1 is the print comic book edition of the opening story, “The Riddler’s Ruse,” from writer Jeff Parker and artist Jonathan Case.  The story opens in Gotham Park, where millionaire Bruce Wayne and his “youthful ward,” Dick Grayson, are on hand for the awarding of the Lady Gotham statuette to the Gotham Police Department.

The festivities are interrupted by The Riddler, who is determined to steal the Lady Gotham, professing a need to protect the work of the statuette’s creator, the late artist, Oskar Villkoop.  Is he really an art lover?  The Dynamic Duo will need the help of another arch-nemesis, the slinky Catwoman, to solve The Riddler’s latest baffling crime conundrum.  Holy Strange Bedfellows, Batman!

I first discovered the “Batman” TV series ages ago when a local television station began airing the show in syndication.  I instantly fell in love with the series, and that the show did not resemble the Batman comic books I was reading at the time did not bother me.  I was surprised to discover that quite a few comic book fans hated “Batman.”  The editors of the Comics Buyers Guide, a weekly publication of comic book news, features, and collectibles, once claimed that “Batman” was the primary reason the public at large did not take comic books seriously.

With DC Comics’ recent announcement of Batman ’66, a comic inspired by the series, I had the opportunity to discover that there are many comic book fans who loved the show.  And we have reason to cheer.  Batman ’66 is the decades-old TV show embodied in comic book form.

Batman ’66 is not a great work of comic book art, but it is a great comic book.  Please, allow me to explain.  Batman ’66 is not Batman: The Dark Knight Returns in terms of its impact on Batman the character and on superhero comics (as TDKR has been for the last quarter-century).  However, for me, Batman ’66 and TDKR are alike because the latter was the kind of comic book that was so much fun for me to read that I read it over and over again.  The first time I read TDKR, it so stunned me that I immediately read it again.  My copy could not be in “Mint” or “Near Mint” condition just from the wear I put on that comic book through repeated readings.

I can’t stop flipping through Batman ’66.  I had so much fun reading it.  That it is so much like the old TV show makes me think Jeff Parker and Jonathan Case are in need of an exorcism.  Surely, they made a deal with some kind of supernatural entity to pull this off.  The witty asides, the droll humor, the campy style, the colorful milieu, the corny moralizing, and Batman’s let’s-all-follow-the-rules approach to everything:  it’s all here; “Batman” is back.

I love Jonathan Case’s eye-popping, pop art aesthetic.  It references “Batman” without being slavish to it.  The composition and graphic design form a wild style that recalls Neal Adams and also the angular photography of the television show.  The art moves and grooves, and Case makes the coloring mimic an old-fashioned two or three-color 3D comic book.  Give that man an Eisner nod.

Jeff Parker and Jonathan Case have put fun first in this new comic.  Digital or print: Batman ’66 is a winner.

A

Reviewed by Leroy Douresseaux

Albert Avilla Reviews: Wolverine and the X-Men #17

Wolverine and the X-Men #17
Marvel Comics

Reviewed by Albert Avilla

Writer: Jason Aaron
Artist: Michael Allred
Colors: Laura Allred
Cover: Michael and Laura Allred

Just the other day I was thinking, “Hey, the X-Books have not done a good humor issue in a while.” I like Wolverine, and I like the X-Men. Logic dictates that I should like Wolverine and the X-Men. I start reading: Deathlok is giving Wolverine an evaluation of the school. Tongue in cheek stuff is going on. I turn the page, and I have my first encounter with Doop. That page alone lets me know that I may have stumbled across a goldmine. Let the hilarity begin.

There was not a page that didn't make me laugh; some pages, every panel. Who can defeat the devil and a nun and every other menace in between in one issue? My boy Doop can. Doop is a pimp. I don't have enough words and time to describe every comic scene. Trust me, it is some good material. I'm not going to separate the art from the story, because everything works together in this riotous romp.

I rate Wolverine and the X-Men #17 Buy Your Own Copy.