#IReadsYou Review: CYBERFORCE #1 30th Anniversary Edition

CYBERFORCE #1 30TH ANNIVERSARY EDITION
IMAGE COMICS/Top Cow Productions

[This review was originally posted on Patreon.]

STORY: Eric Silvestri
ART: Marc Silvestri
COLORS: Joe Chiodo
LETTERS: Mike Heisler
EDITOR: Cynthia Sullivan
COVER: Marc Silvestri and Scott Williams with Joe Chiodo
VARIANT COVER ARTISTS: Priscilla Petraites; Brett Booth
46pp, Color, $4.99 U.S. (June 2022)

Rated T+/Teen Plus

Cyberforce created by Marc Silvestri

“The Tin Men of War” Part One

Cyberforce was one of Image Comics debut titles, and it was created by one of Image Comic' founding members, Marc Silvestri.  Cyberforce #1 (cover dated: October 1992) was the first issue of a four-issue miniseries.  It introduced a team of mutants who had their mutant abilities enhanced with cybernetic implants as the result of experimentation.  Volume 2 of Cyberforce ran for 35 issues from 1994 to 1997.  Since then, Cyberforce has returned in 2006, 2012, 2015 and 2018.

Image Comics has published a commemorative edition of that first Cyberforce #1 from 1992.  Cyberforce #1 30th Anniversary Edition reprints the story contents of Cyberforce #1 and also includes an illustrated sixteen page section focusing on the early history of Image Comics.  Cyberforce #1 is written by Eric Silvestri; drawn by Marc Silvestri; colored by Joe Chiodo; and lettered by Mike Heisler.

Cyberforce #1 opens in New York City – the inner city.  Velocity, a young woman who is a mutant, is on the run.  It seems that she is being hunted by “C.O.P.S.” (Cybernetic Operatives for Protection and Security), and their leader, Ballistic, a female cybernetic operative.  These operatives are in the service of Cyberdata, a monolithic multinational conglomerate which creates cybernetically enhanced resistance fighters.

Luckily for Velocity, there is a team made up of such fighters who escaped from Cyberdata.  They are Ripclaw, Heatwave, Stryker, Cyblade, and Impact.  They are known as “Cyberforce,” and they may be Velocity's only hope to avoid the clutches of Cyberdata.

THE LOWDOWN:  Initially, Cyberforce was not my favorite Image Comics superhero title.  That was Jim Lee's WildC.A.T.s, but over the years, I have come to really like Cyberforce.  I think the original Cyberforce miniseries is the best early Image Comics' title and is also one of the best superhero comic books of the early 1990s.

Cyberforce is obviously inspired by Uncanny X-Men.  Cyberforce creator, Marc Silvestri, was the lead artist on that title from 1987 to 1990.  I think Cyberforce once had the potential to rival the X-Men, but in the end, average writing and mediocre Silvestri copycat artists, as well as middling spin-offs dragged this potential franchise down.

Cyberforce #1 30th Anniversary Edition is a celebration of a particular time, when the debut of Image Comics offered so much promise for creator-owned superhero comic books.  Over time, Image Comics would gradually become a home for a wide variety of genres of creator-owned comic books, especially in the science fiction, fantasy, horror, and action genres.  However, Cyberforce #1 30th Anniversary Edition remembers the beginnings of Image Comics, and for some of us, those beginnings will always be special.

Also, 1992's Cyberforce #1 is just a damn good first issue.  Yes, writer Eric Silvestri seems to be squeezing a tad too much information into the first issue, but he makes this first issue and the world it introduces seem like the place to be.  Marc Silvestri's art lacks the polish that it would usually get from the inks of Scott Williams.  Still, his dynamic layouts and the steadiness of his drama make for engaging graphical storytelling.

Joe Chiodo's muted colors add a sense of realism to the story.  Mike Heisler's letters catch the shifting tones and intensity of the narrative that sell the story.  The result is a memorable first issue.

Sometimes, I dream that Cyberforce will be mine, and I will finally bring them to the heights they deserve.  Well, while a fanboy is dreaming, older fans can celebrate with Cyberforce #1 30th Anniversary Edition and new readers can discover something they might like.

I READS YOU RECOMMENDS:  Fans of Top Cow and of the early years of Image Comics will want to read Cyberforce #1 30th Anniversary Edition.

A
★★★★+ out of 4 stars


[The comic book includes 16-page section of back matter:

“30 Years of Cyberforce” by Lisa Wu looks back at the early days of Image Comics and Top Cow.  It is comprised of a Q&A with Marc Silvestri, Scott Williams, David Wohl, and Brian Haberlin.  It also includes examples of original art and color guides.

“Cyberforce Through the Years”: this is comprised of a cover gallery from various Cyberforce publications; character sketches by Marc Silvestri; art related to trading cards; storyboards for an unproduced Cyberforce animated television series; photos of toys; and miscellaneous images.]

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


www.topcow.com
https://twitter.com/ImageComics
https://imagecomics.com/
https://www.instagram.com/imagecomics/
https://www.facebook.com/pages/Image-Comics-Inc/178643148813259
https://www.twitch.tv/imagecomics
https://www.youtube.com/channel/UCHmaKLo0FXWIPx-3n6qs3vQ
https://www.linkedin.com/company/image-comics/


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

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

Amazon wants me to inform you that the affiliate link below is a PAID AD, but I technically only get paid (eventually) if you click on the affiliate link below AND buy something(s).

#IReadsYou Review: UNCANNY X-MEN #1 (2019)

UNCANNY X-MEN #1 (2019) – Legacy #620
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Ed Brisson, Matthew Rosenberg, and Kelly Thompson
ART: Mahmud Asrar; Mirko Colak; Ibraim Roberson
PENCILS: Mark Bagley
INKS: Andrew Hennessy
COLORS: Rachelle Rosenberg
LETTERS: VC's Joe Caramagna
COVER: Leinil Francis Yu with Edgar Delgado
EDITOR: Jordan White with Darren Shan
VARIANT COVER ARTISTS: David Finch with Frank D'Armata; Jim Cheung with Justin Ponsor; Scott Williams with Ryan Kinnaird; Carlos Pacheco and Rafael Fonteriz with Edgar Delgado; Joe Quesada with Richard Isanove; Rob Liefeld with Romulo Fajardo, Jr.; Dave Cockrum with Jason; Dave Cockrum
72pp, Color, $7.99 U.S. (January 2019)

Rated T+

X-Men created by Stan Lee and Jack Kirby

“Disassembled” Part 1; “What Tomorrow Brings” Parts One – “A Bishop Story”; Part Two – “A Jean Grey Story”; Part Three – “An Armor & Angle Story”; Epilogue

There is no point in trying to count the number of times that Marvel Comics has relaunched, reinvigorated, or quasi-rebooted its X-Men comic book franchise since 2001's New X-Men.  This week we got the third(?) Uncanny X-Men relaunch.

Uncanny X-Men 2019 is written by the team of Ed Brisson, Matthew Rosenberg, and Kelly Thompson.  The artists and art teams will rotate, as the first nine issues of this new series will be published weekly.  The artists for this first issue are Mahmud Asrar (pencils-inks); Mirko Colak (pencils-inks); Ibraim Roberson (pencils-inks); and the team of Mark Bagley (pencils) and Andrew Hennessy (inks).  Rachelle Rosenberg colors and Joe Caramanga letters this first issue.

Uncanny X-Men #1 begins with the main story, “Disassembled” Part 1.  The story opens with Jean Grey having a dream about an invasion of multiple copies of Multiple Man, each one demanding the whereabouts of Kitty Pryde.  Meanwhile, Kitty is among the members of the X-Men who are suddenly disappearing.  Who is behind this mystery?  In a series of back-up stories, Bishop, Jean Grey & Storm, and Armor & Anole take on a foe capable of possessing people in the days leading up to the events depicted in the main story.

20th Century Fox's X-Men film franchise has had some spectacular successes and some failures since the franchise's first film, 2000's X-Men.  In that time, X-Men comic books have been mostly hit and miss.  There have been some interesting, even good series; All New X-Men, New X-Men, and X-Men: The Hidden Years come to mind.  However, the “golden age” of X-Men comic books was over by the mid-1980s, and the various owners of Marvel Comics have ruined the franchise by turning it into a cash cow that has vomited money.  A deluge of X-Men and X-Men-related ongoing series, miniseries, one-shots, specials, graphic novels, and reprint and archival publications in various formats, etc. were money makers.  The quality of these comic books varied wildly.  Some were good.  Some were mediocre.  Some were plain awful.

Personally, I think that without a radical rethinking of the X-Men concept, the best we can hope for is that maybe each new iteration of a flagship X-Men comic book, Uncanny X-Men or the recent X-Men: Blue and X-Men: Gold, can yield at least a year's worth of good comic books.  Gold and Blue barely did that.

I like that Uncanny X-Men 2019 will be weekly for its first nine issues.  I wish that Marvel and DC Comics published more weekly titles.  Rather than have a bunch of crappy Justice League titles, have one that is published weekly and features rotating casts and creative teams.  If Uncanny X-Men's writing team can maintain this first issue's sense of mystery and keep offering cliffhangers like the ones in this issue, then, this will be a fun run of nine issues.

So I have some hope, but, without going into spoilers, nothing in Uncanny X-Men #1 2019 suggests that this comic book will approach the first quarter-century of X-Men publications, which offered quite a few stories that went on to become classics.  But there is enough here to suggest that this could be a solid title.  I want to be surprised and delighted.

7 out of 10

Reviewed by Leroy Douressaeux 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: DETECTIVE COMICS #1000

DETECTIVE COMICS No. 1000
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

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

Rated “T” for “Teen”

Batman created by Bob Kane and Bill Finger

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Meh.

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

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

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

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

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

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

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

7 out of 10

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


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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

Review: THE IMMORTAL MEN #1

THE IMMORTAL MEN No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: James Tynion IV
PENCILS: Jim Lee and Ryan Benjamin
INKS: Scott Williams and Richard Friend
COLORS: Jeremiah Skipper and Alex Sinclair
LETTERS: Carolos M. Mangual
COVER: Jim Lee and Scott Williams with Alex Sinclair
32pp, Color, $2.99 U.S. (June 2018)

Rated “T” for Teen

The Immortal Men created by James Tynion IV and Jim Lee

“The End of Forever” Part 1

DC Comics has launched a new superhero comics initiative, “The New Age of DC Heroes,” coming out of its Dark Nights: Metal event miniseries.  This line of comic books will consist of eight new comic book series:  The Curse of Brimstone, Damage, New Challengers, Sideways, The Silencer, The Terrifics, The Unexpected, and the subject of this review, The Immortal Men.

The Immortal Men is created by James Tynion IV and Jim Lee.  The series is written by Tynion; drawn by Lee and Ryan Benjamin (pencils) and Scott Williams and Richard Friend (inks); colored by Jeremiah Skipper and Alex Sinclair; and lettered by Carlos M. Mangual.  The series focuses on a young man who is an emerging metahuman and who may also be the last hope for the survival of a group of immortal heroes.

The Immortal Men #1 introduces Ghost Fist, Reload, Stray, and Timber.  They are the last of the “Immortal Men,” protecting humanity from the shadows since the dawn of time.  The Infinite Woman, The Hunt, and the “Bloodless,” are in the process of destroying everything about the Immortal Men.  Their most important target just may be the Immortal Men's savior, Caden Park,  a young man plagued by visions of another world.

The problem with DC Comics' “The New Age of Heroes,” is that while some of the writers and artists involved in this new line are some of the most popular comic book creators, they are not necessarily the most imaginative and inventive.  Sorry, dear readers, to inform you of this.  I love Jim Lee's art, but he has built a career out of drawing some of the most popular comic book characters ever created:  X-Men and The Punisher for Marvel and Superman, Batman, Wonder Woman, Justice League, etc. for DC Comics – all created by other people.  When Lee created his own “universe” of comic book creations, the result, the “Wildstorm Universe,” was mixed, with characters that are not iconic or legendary... or particularly popular, for that matter.

The grade of “B-” that I am giving The Immortal Men #1 is generous because I am a fan of both Lee and this series co-artist, Ryan Benjamin.  However, this concept is mediocre material that is a rehash of other people's work, ideas, and concepts – Warren Ellis and John Cassaday's Planetary and Alan Moore and Kevin O'Neill's The League of Extraordinary Gentlemen, for example.

Yet, I am intrigued by The Immortal Men.  I hope that James Tynion IV can deliver a better script than what is in this issue; he is certainly capable of it, as I have enjoyed quite a bit of his writing.  The problem is that in a distressed market, as the comic book Direct Market currently is, star creators put their names on comic book product that they would not accept for publication from unknown or new comic book creators – such as The Immortal Men.

5.5 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 for reprint and syndication rights and fees.

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

Review: JUSTICE LEAGUE #1

JUSTICE LEAGUE No. 1 (2018)
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Scott Snyder
PENCILS: Jim Cheung
INKS: Mark Morales
COLORS: Tomeu Morey
LETTERS: Tom Napolitano
EDITOR: Rebecca Taylor
COVER: Jim Cheung with Laura Martin
VARIANT COVER: Jim Lee and Scott Williams with Alex Sinclair
32pp, Color, $3.99 U.S. (Early August 2018)

Rated “T+” for “Teen Plus”

“The Totality” Part One

The Justice League (also known as Justice League of America or JLA) is DC Comics' premiere superhero group.  Conceived by writer Gardner Fox and first drawn by artist Mike Sekowsky, the Justice League first appeared as a team in The Brave and the Bold #28 (cover dated:  March 1960).  The seven original members were Superman, Aquaman, Batman, Flash, Green Lantern, Martian Manhunter, and Wonder Woman.  The team received its own book with the debut of Justice League of America #1 (cover dated: October 1960).

For the third time in seven years, Justice League debuts with a new first issue.  This new Justice League 2018 is written by Scott Snyder.  This debut issue is drawn by Jim Cheung (pencils) and Mark Morales (inks); colored by Tomeu Morey; and lettered by Tom Napolitano.

Justice League #1 opens with a comet of golden light streaking across space... and across several periods of time.  Next, there is a glimpse of the Justice League's “Hall of Justice.”  Then, we find Superman, Wonder Woman, Batman, Flash, Aquaman, and Hawkgirl lead fellow superheroes, including Cyborg and Mr. Terrific, into a fight against bands of Neanderthals that have been biologically and technologically advanced by Justice League supervillain, Vandal Savage.  However, the arrival of some familiar supervillains and arch-nemesis and of something wicked/mysterious this way comes makes a League victory seem Pyrrhic.

Since 1985, DC Comics turns to a cosmic event to either save itself financially or to simply increase sales with a high-profile publishing event.  And quite frankly, I am not interested in another Scott Snyder, time-spanning, multi-universal conspiracy.

But I enjoyed the art in Justice League #1.  I will read any comic book story drawn by Jim Cheung, whose pencils are nicely inked by Mark Morales in this issue.  Tomeu Morey, as usual, colors with the power of Shaka Zulu, turning in such beauty that I was willing to wade through a story in which I had no interest.  Letterer Tom Napolitano, for the umpteenth time, makes the unreadable quite readable.

I have to admit this:  I will keep reading Justice League (2018), if future art teams are as good as the one in Justice League #1.

5.5 out of 10

[This comic book includes a preview of Teen Titans #20 by Adam Glass, Bernard Chang, Marcelo Maiolo, and Rob Leigh.]

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.

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

DC Comics from Diamond Distributors for March 7, 2018

DC COMICS

JUL170485    ABSOLUTE WILDCATS BY JIM LEE HC    $125.00
JAN180270    BANE CONQUEST #10 (OF 12)    $3.99
JAN180260    BATMAN #42    $2.99
JAN180261    BATMAN #42 VAR ED    $2.99
DEC170385    BATMAN & HARLEY QUINN HC    $24.99
DEC170386    BATMAN & SUPERMAN IN WORLDS FINEST THE SILVER AGE VOL 02    $24.99
DEC170387    BATMAN BY NEAL ADAMS TP BOOK 01    $24.99
JAN180268    BATMAN WHITE KNIGHT #6 (OF 8)    $3.99
JAN180269    BATMAN WHITE KNIGHT #6 (OF 8) VAR ED    $3.99
JAN180275    BLACK LIGHTNING COLD DEAD HANDS #5 (OF 6)    $3.99
JAN180276    BOMBSHELLS UNITED #13    $2.99
SEP170450    DC GALLERY SUPERMAN VS FLASH RACING STATUE    $295.00
JAN180281    DEATHSTROKE #29    $3.99
JAN180282    DEATHSTROKE #29 VAR ED    $3.99
JAN180361    EXIT STAGE LEFT THE SNAGGLEPUSS CHRONICLES #3 (OF 6)    $3.99
JAN180362    EXIT STAGE LEFT THE SNAGGLEPUSS CHRONICLES #3 (OF 6) VAR ED    $3.99
JAN180293    GREEN ARROW #38    $3.99
JAN180294    GREEN ARROW #38 VAR ED    $3.99
JAN180295    GREEN LANTERNS #42    $2.99
JAN180296    GREEN LANTERNS #42 VAR ED    $2.99
JAN180307    HARLEY & IVY MEET BETTY & VERONICA #6 (OF 6)    $3.99
JAN180308    HARLEY & IVY MEET BETTY & VERONICA #6 (OF 6) VAR ED    $3.99
JAN180303    HARLEY QUINN #39    $2.99
JAN180304    HARLEY QUINN #39 VAR ED    $2.99
DEC170379    HELLBLAZER TP VOL 03 THE INSPIRATION GAME REBIRTH    $16.99
JAN180311    INJUSTICE 2 #21    $2.99
JAN180365    JETSONS #5 (OF 6)    $3.99
JAN180366    JETSONS #5 (OF 6) VAR ED    $3.99
JAN180313    JUSTICE LEAGUE #40    $2.99
JAN180314    JUSTICE LEAGUE #40 VAR ED    $2.99
DEC170380    JUSTICE LEAGUE OF AMERICA TP VOL 03 PANIC MICROVERSE REBIRTH    $16.99
DEC170395    JUSTICE LEAGUE POWER & GLORY TP    $19.99
SEP170419    KAMANDI BY JACK KIRBY OMNIBUS HC    $125.00
DEC178837    MISTER MIRACLE #5 (OF 12) 2ND PTG (MR)    $3.99
JAN180326    NIGHTWING #40    $2.99
JAN180327    NIGHTWING #40 VAR ED    $2.99
JAN180249    SHADE THE CHANGING WOMAN #1 (MR)    $3.99
JAN180250    SHADE THE CHANGING WOMAN #1 VAR ED (MR)    $3.99
DEC170381    SUPER SONS TP VOL 02 PLANET OF THE CAPES REBIRTH    $14.99
JAN180340    SUPERMAN #42    $2.99
JAN180341    SUPERMAN #42 VAR ED    $2.99
OCT170381    TALES OF THE BATMAN GENE COLAN HC VOL 02    $39.99
DEC170354    WILD STORM #12    $3.99
DEC170356    WILD STORM #12 HITCH VAR ED    $3.99
DEC170355    WILD STORM #12 LEE VAR ED    $3.99

Review: THE WILD STORM #1

THE WILD STORM No. 1
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

WRITER: Warren Ellis
ARTIST: Jon Davis-Hunt
COLORS: Ivan Plascencia
LETTERS: Simon Bowland
COVER: Jon Davis-Hunt
VARIANT COVERS: Tula Lotay; Jim Lee and Scott Williams with Alex Sinclair
32pp, Color, $3.99 U.S. (April 2017)

Rated “T+”

“The Wild Storm – Chapter One”

Started by Jim Lee and Brandon Choi, WildStorm Productions was one of the founding studios of Image Comics.  The WildStorm Universe, the fictional shared universe of comic books published by WildStorm, debuted in WildC.A.T.s #1 (cover dated: August 1992).  I think I loyally enjoyed WildStorm titles for about five years, gradually losing interest as the decade and the 20th century waned.  Jim Lee sold WildStorm Productions and his intellectual properties to DC Comics in 1999, and eventually the WildStorm Universe was folded into the DC Universe (DCU) proper.

It can be argued that the most interesting and perhaps, most influential comic books to come out of the WildStorm Universe were written by Warren Ellis (his run on StormWatch, his creation of The Authority and Planetary).  Now, Ellis is back to reinvent or reset the WildStorm universe – small “u.”  The title that begins the reset is The Wild Storm, written by Ellis; drawn by Jon Davis-Hunt; colored by Ivan Plascencia; and lettered by Simon Bowland.

The Wild Storm #1 opens with the return of Zealot and Voodoo.  What is important, however, is that someone wants to kill Jacob Marlowe, CEO of HALO, the world-changing tech company.  What's up with Angela Spica?  Who wants to kill Marlowe more than Miles Craven of I.O. (International Operations)?  Is it Michael Cray?  Wake the CAT.

I enjoyed Warren Ellis' work for WildStorm (well, except DV8), so I have hopes for The Wild Storm.  Are they high hopes?  I think I'll see how high or if I should levitate those hopes after each issue.  Ellis says that you do not have to have read earlier WildStorm comic books to understand The Wild Storm.  Still, I think 75 percent of the thrill of The Wild Storm is being familiar with these characters; how else can you really enjoy the new riffs on these semi-old melodies?

I like the clean, modern line of artist Jon Davis-Hunt.  It reminds me of the artists who have drawn Marvel's Iron Man comic books over the past few years.  There is a hint of realism mixed with earthiness and futurism in Davis-Hunt's compositions in this first issue.  So besides Ellis' story, I really want to see what Davis-Hunt does from here on out.

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


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

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

Review: SUICIDE SQUAD #1

SUICIDE SQUAD No. 1 (2016)
DC COMICS – @DCComics

[This review was originally posted on Patreon.]

STORY: Rob Williams
PENCILS: Jim Lee
INKS: Scott Williams
COLORS: Alex Sinclair
LETTERS: Nate Piekos of Blambot
COVER: Jim Lee and Scott Williams with Alex Sinclair
VARIANT COVER: Lee Bermejo
32pp, Color, $2.99 U.S. (October 2016)

Rated “T+” for “Teen Plus”

“The Black Vault” Part One: “I Wanna Be Sedated”

Suicide Squad by Robert Kanigher and Ross Andru

Suicide Squad is a DC Comics team.  It first debuted in The Brave and the Bold #25 (cover dated: August/September 1959) and was created by writer Robert Kanigher and artist Ross Andru.

The second Suicide Squad appeared in Legends #3 (cover dated: January 1987), the 1986 DC Comics event miniseries. Created by John Ostrander, this Suicide Squad was “Task Force X,” an anti-hero team of incarcerated super-villains that undertook high-risk, black ops missions in exchange for commuted prison sentences.

With the re-launch of DC Comics’ superhero line, “The New 52,” there was a new Suicide Squad comic book series.  The Suicide Squad was a team of super-villains, in which the members took on risky missions in exchange for time served. The team’s base of operations was Belle Reve Penitentiary, a special prison for meta-humans and super-villains located in Terrebonne Parish, Louisiana.

With the “Rebirth” event, there is a new Suicide Squad comic book.  It is written by Rob Williams; drawn by Jim Lee (pencils) and Scott Williams (inks); colored by Alex Sinclair; and lettered by Nate Piekos.

Suicide Squad #1 (“I Wanna Be Sedated”) finds Amanda Waller, the head of Task Force X, making a trip to Belle Reve Penitentiary where she meets with Colonel Rick Flag, Suicide Squad Field Commander, and his second-in-command, Katana.  Together, they will select a squad of super-villain scum for a mission to retrieve or destroy an alien item that a rogue Russian state is studying.  However, this Suicide Squad:  Deadshot, Harley Quinn, Captain Boomerang; The Enchantress, and Killer Croc may not be badass enough to compete this mission.

The main story is 13 pages long and is not long enough for me to get much of a feel for the quality of the beginning of the story arc.  I can say two things.  First, I don't feel I need to read more. Second, Jim Lee is on the down side of his career.  Compared to even his average work, this is poor.

“Never Miss”
STORY: Rob Williams
ARTIST: Jason Fabok
COLORS: Brad Anderson
LETTERS: Nate Piekos

“Never Miss” is kind of an origin story slash biography slash early tale of the career of Deadshot.  I liked it.  It's dark and depicts Floyd Lawton a.k.a. Deadshot as a man who is much more complicated and conflicted than his costumed self suggests.  Writer Rob Williams smartly depicts the high costs of being Deadshot, and Jason Fabok's dark compositions makes this tale's tragic angle feel genuine.

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


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

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

Review: DARK NIGHTS: Metal #2

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

[This review was originally posted on Patreon.]

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

Rated “T+” for “Teen Plus”

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

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

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

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

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

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

A
8 out of 10

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


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

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

Review: Dark Nights: METAL #1

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

[This review was originally posted on Patreon.]

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

Rated “T+” for “Teen Plus”

“Metal”

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

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

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

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

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

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

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

A
8 out of 10

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


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

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

Review: Dark Knight III: The Master Race #9

DARK KNIGHT III: THE MASTER RACE No. 9
DC COMICS – @DCComics

STORY: Frank Miller and Brian Azzarello
PENCILS: Andy Kubert
INKS:  Klaus Janson
COLORS: Brad Anderson
LETTERS: Clem Robins
COVER: Andy Kubert and Frank Miller with Brad Anderson; Frank Miller with Alex Sinclair
VARIANT COVERS: Jim Lee and Scott Williams with Alex Sinclair; Greg Capullo; Klaus Janson with Alex Sinclair; Frank Quitely; Mikel Janin; Chip Kidd
40pp (plus 16-page insert), Color, $5.99 U.S. (July 2017)

Batman created by Bob Kane with Bill Finger

A nine-issue comic book publishing event, Dark Knight III: The Master Race (also known as DKIII) is the second sequel to Batman: The Dark Knight Returns (also known simply as The Dark Knight Returns or DKR).  DKR is the now-legendary 1986 four-issue comic book miniseries written by Frank Miller and drawn by Miller (pencils) and Klaus Janson (inks).  DKR focuses on a 50-year-old Bruce Wayne who comes out of retirement to resume fighting crime as Batman.

DKIII is written by Brian Azzarello and Frank Miller; drawn by Andy Kubert (pencils) and Klaus Janson (inks); colored by Brad Anderson; and lettered by Clem Robins.  In DKIII, Batman unites with Superman to stop a murderous group of people from Superman's home planet, Krypton, from taking over the Earth.  Meanwhile, Superman's daughter with Wonder Woman, Lara, has joined with the murderous Kryptonians, and Carrie Kelley, the former Robin, begins to evolve into the new Batgirl.

As Dark Knight III: The Master Race #9 opens, the “master race” of Kryptonians from the Bottled City of Kandor and their leader, Quar, prepare to make the Earth unlivable in order to punish humanity for not worshiping them.  Enter Green Lantern and the Atom.  Batman has a surprise for Quar and company, but Superman may have the biggest surprise of all.

If I remember correctly, when it announced that DKIII was being extended to nine issues, DC Comics said there was more story to tell (or something like that).  After reading DKIII #9, I don't know if this is so much “more story” as it is an extended action sequence, all of which could have been wrapped up in a double-sized DKIII #8.

After much criticism and complaining about DKIII (with only scattered praise), I had to admit that I thought that DKIII #8 was not only the best issue of the series, but was also a truly good comic book.  DKIII #7 and #8 moved the narrative forward more powerfully than a locomotive, and #9 is nice finale slash coda coming after those two issues.

I think that DKIII #9 also came into existence to prepare the way for more comics set in the world of Batman: The Dark Knight Returns.  Rumor has it that DC may have outlines all the way to an eighth miniseries, and I'll probably read them all.  For all the series' unevenness, DKIII #9 has some surprises, like The Atom's pivotal moment and the last page, with its graphic homage to an iconic graphic from DKR.  Plus, I can't resist the eight-page gallery of Adam Kubert and Klaus Janson's art in black and white.  So in the end, I'll recommend Dark Knight III: The Master Race #9.

Dark Knight Universe Presents: Action Comics #1 (Insert comic book)
STORY: Frank Miller and Brian Azzarello
PENCILS: Frank Miller
INKS: Klaus Janson
COLORS: Alex Sinclair
LETTERS: Clem Robins
COVER: Frank Miller and Klaus Janson with Alex Sinclair

I have not really enjoyed these mini-comics inserted into the center of each issue of DKIII, but I did like DKIII #7's“Strange Adventures” and #8's “Detective Comics.”  In “Action Comics #1,” Batman provides a narration as we look in on heroes like Aquaman, Green Lantern, Flash, Wonder Woman, and The Atom.  Also, Lara and Carrie Kelley/Batgirl take the next steps in their lives (with Carrie's evolution alluded to at the end of the main story).  “Action Comics #1” is also a nice coda slash prelude to the probable “DKIV” or “DK4.”

B+
7.5 out of 10

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


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

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

Review: DARK KNIGHT III: The Master Race #8

DARK KNIGHT III: THE MASTER RACE No. 8
DC COMICS – @DCComics

STORY: Frank Miller and Brian Azzarello
PENCILS: Andy Kubert
INKS:  Klaus Janson
COLORS: Brad Anderson
LETTERS: Clem Robins
COVER: Andy Kubert with Brad Anderson
VARIANT COVERS: Jim Lee and Scott Williams with Alex Sinclair; Frank Miller with Alex Sinclair; Klaus Janson with Brad Anderson; Bill Sienkiewicz; Riley Rossmo
32pp (plus 16-page insert), Color, $5.99 U.S. (May 2017)

Batman created by Bob Kane with Bill Finger

Dark Knight III: The Master Race (also known as DKIII) is a nine-issue Batman comic book event miniseries.  It is the second sequel to Batman: The Dark Knight Returns (also known simply as The Dark Knight Returns or DKR), the 1986 four-issue comic book miniseries written by Frank Miller and drawn by Miller (pencils) and Klaus Janson (inks).  DKR focuses on a 50-year-old Bruce Wayne who comes out of retirement to resume fighting crime as Batman.

DKIII is written by Brian Azzarello and Frank Miller; drawn by Andy Kubert (pencils) and Klaus Janson (inks); colored by Brad Anderson; and lettered by Clem Robins.  DKIII finds Batman united with Superman to stop a murderous group of people from Superman's home planet, Krypton, from taking over the Earth.

Dark Knight III: The Master Race #8 opens with the new Batgirl (Carrie Kelley) witnessing the seeming death of Batman.  However, Superman placed Batman's body in a Lazarus Pit, and now Bruce Wayne is not only alive, but young again.  Meanwhile, the “master race” of Kryptonians from the Bottled City of Kandor invade the home of Wonder Woman's and the Amazons (an island now called “Amazonia”).  The Kryptonians are sure that they will win their fight with the Amazons, but Wonder Woman and her people have something that can match the Superman-like powers of a master race.

After much criticism and complaining about DKIII (with only scattered praise), I have to admit that I think that DKIII #8 is not only the best issue of the series, but it is also a truly good comic book.  DKIII has been wildly inconsistent, but DKIII #7 and #8 move the narrative forward more powerfully than a locomotive.

I don't think... No, I know that I have not had this much fun reading the other issues of DKIII as I had reading #8, although #7, as I've said, is quite good.  Wonder Woman in full battle mode is a beautiful thing, and of course, this story barrels forward because #8 is the penultimate issue (although it was originally intended to be the last issue).  Of note, a younger Bruce Wayne adds fuel to the rumors that many more series set in the DKR universe are to come.

Dark Knight Universe Presents: Detective Comics #1 (Insert comic book)
STORY: Frank Miller and Brian Azzarello
PENCILS: Frank Miller
INKS: Klaus Janson
COLORS: Alex Sinclair
LETTERS: Clem Robins
COVER: Frank Miller with Alex Sinclair

I have not really enjoyed these mini-comics inserted into the center of each issue of DKIII, but I did like DKIII #7's“Strange Adventures,” which focuses on Green Lantern and two denizens of Thanagar.  This issue's “Detective Comics” insert is the best of the lot, thus far, and is Frank Miller's best work as an artist for these inserts.  This insert also features some familiar characters and story elements that first appeared in DKR, and that makes me happy.  Plus, this is “To be continued...”

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.

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

DARK KNIGHT III: The Master Race #7

DARK KNIGHT III: THE MASTER RACE No. 7
DC COMICS – @DCComics

STORY: Frank Miller and Brian Azzarello
PENCILS: Andy Kubert
INKS:  Klaus Janson
COLORS: Brad Anderson
LETTERS: Clem Robins
COVER: Andy Kubert with Brad Anderson
VARIANT COVERS: Jim Lee and Scott Williams with Alex Sinclair; Frank Miller with Alex Sinclair; Klaus Janson with Dave McCaig; Howard Chaykin with Jesus Aburto; Chris Burnham with Nathan Fairbairn
32pp (plus 16-page insert), Color, $5.99 U.S. (February 2017)

Batman created by Bob Kane with Bill Finger

Dark Knight III: The Master Race (also known as DKIII) is the second sequel to Batman: The Dark Knight Returns (also known simply as The Dark Knight Returns or DKR), the landmark, four-issue comic book miniseries.  Published by DC Comics in 1986, DKR was written by Frank Miller; drawn by Miller (pencils) and Klaus Janson (inks); colored by Lynn Varley; and lettered by John Costanza.  DKR focused on a 50-year-old Bruce Wayne who comes out of retirement and resumes his crime-fighting role as Batman.

DKIII is written by Brian Azzarello and DKR's Frank Miller; drawn by Andy Kubert (pencils) and DKR's Klaus Janson (inks); colored by Brad Anderson; and lettered by Clem Robins.  DKIII finds Batman united with Superman to stop a murderous group of people from Superman's home planet, Krypton, from taking over the Earth.

Dark Knight III: The Master Race #7 opens in the aftermath of the battle in and over Gotham City, pitting Batman, Superman, and their allies against the “master race” of Kryptonians from Kandor.  And Batman is dead... or is he?  Superman has an idea about reviving his old friend.  Meanwhile, Quar, the leader of the Kryptonians, moves to strengthen his hold on Lara, the daughter of Superman and Wonder Woman, who has sided with the Kryptonians.  He wants her to do something for him...

I have to say that I enjoyed reading DKIII #7 more than I did issue #6.  I have found DKIII to be wildly inconsistent.  It is sometimes intense and gripping; other times, it is contrived and ridiculous – often within the same issue.

What is the difference with #7?  I think that this issue consolidates subplots and relationships, as the narrative prepares to move into the final acts of the series.  This issue is the first one that clearly depicts Lara's ambivalence, but also emphasizes that much of this story is about Lara's side of the family, in particularly her father, Superman.  Going forward as a reader, an issue like this one makes me feel more confident about the eight and ninth issues of Dark Knight III: The Master Race, the final two issues.

Dark Knight Universe Presents: Strange Adventures #1 (Insert comic book)
STORY: Frank Miller and Brian Azzarello
PENCILS: Frank Miller
INKS: Klaus Janson
COLORS: Alex Sinclair
LETTERS: Clem Robins
COVER: Frank Miller with Alex Sinclair

I have not really enjoyed these mini-comics inserted into the center of each issue of DKIII, but I like this issue's “Strange Adventures” that focuses on Green Lantern and two denizens of Thanagar.  The interplay of the items that give these heroes their power with the mounting danger of their adversaries makes this a gripping mini-thriller with a nice ending.

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.

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

Review: Dark Knight III: The Master Race #6

DARK KNIGHT III: THE MASTER RACE No. 6
DC COMICS – @DCComics

STORY: Frank Miller and Brian Azzarello
PENCILS: Andy Kubert
INKS:  Klaus Janson
COLORS: Brad Anderson
LETTERS: Clem Robins
COVER: Andy Kubert with Brad Anderson
VARIANT COVERS: Jim Lee and Scott Williams with Alex Sinclair; Frank Miller with Alex Sinclair; Klaus Janson with Romulo Fajardo, Jr.; Greg Tocchini; Giuseppe Camuncoli with Dave Stewart
32pp (plus 16-page insert), Color, $5.99 U.S. (December 2016)

Batman created by Bob Kane with Bill Finger

For a long time, film critics and movie buffs considered sequels to acclaimed and/or popular films to be inferior, and they mostly were.  Sequels were often cheaper, made with production budgets that were lower (sometimes much lower) than the original film's budget.  Sometimes, not only were key members of the original cast missing, but also missing were the original screenwriter(s) and director.

Of course, there were exceptions.  Many people think that The Godfather II was a better film than The Godfather, which itself is one of the greatest films of all time.  George Lucas may have been unhappy with the reception to The Empire Strikes Back, but almost everyone thinks this sequel was vastly superior to the more famous and financially successful Star Wars (1977).  And Christopher Nolan's The Dark Knight (2008) practically eclipsed his first Batman film, Batman Begins (2005), which itself was and still is one of the best movies based on a superhero comic book ever made.

Batman: The Dark Knight Returns (also known simply as The Dark Knight Returns or 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.  Dark Knight III: The Master Race (also known as DKIII), the second sequel to DKR, is an inferior sequel to a landmark original.

Yes, a planned nine-issue series, DKIII is written by DKR's Frank Miller and Brian Azzarello; drawn by Andy Kubert (pencils) and DKR's Klaus Janson (inks); colored by Brad Anderson; and lettered by Clem Robins.  Yes, you have the original author and some of the biggest names in mainstream comic books joining him, but DKIII is not only inferior, but is also nothing more than corporate product meant to cash in on a still-famous original.  But first things first...

Dark Knight III: The Master Race #6 finds Batman and Superman leading a revolt against the alien menace from the Bottled City of Kandor (now grown full-size) that has put Gotham City under siege and threatens the same to the rest of the world.  Meanwhile, Carrie, the Robin from DKR who is now the new Batgirl(?), battles the new “Supergirl,” who is Lara, the daughter of Superman and Wonder Woman.  How does it end?  With a death... maybe.

First, I don't buy that Frank Miller actually has much input in the main narrative.  Yeah, you can rag on The Dark Knight Strikes Again (DK2), the original sequel, but it was both original and an eclectic take on familiar comics tropes.  DKIII is just a rehash of ideas from DKR – old and aging superheroes, Bat vs. Kryptonian, and some vague law and order themes.  In some ways, this doesn't even rise to the level of Azzarello's previous and acclaimed work.

Secondly, The Dark Knight Returns was a “What if” or “Elseworlds” Batman story that DC Comics bosses and comic book fans turned from a special event into an entrenched mindset.  They can't let it go, and everything that they have done with it since the debut of DKR only serves to prove how special and of-its-times the original was.  Even Frank Miller has not been able to recapture the glory of the original, and honestly, the only thing that Brian Azzarello and Andy Kubert can do is lend their names to the corporate, Batman sub-brand that is “The Dark Knight.”

Dark Knight III: The Master Race is not a bad comic.  I bought into the hype, although part of me knew where this was going even while buying the product.  There are indeed some stand-out Batman comics being done right now by Scott Snyder and John Romita, Jr. on All-Star Batman and by Tom King and David Finch on Batman.

Dark Knight Universe Presents: World's Finest #1 (Insert comic book)
STORY: Frank Miller and Brian Azzarello
PENCILS: Frank Miller
INKS: Klaus Janson
COLORS: Alex Sinclair
LETTERS: Clem Robins
COVER: Frank Miller with Alex Sinclair

Frank Miller seems to have a bigger hand in these Dark Knight Universe Presents comic books which are inserted in the middle of each issue of DKIII.  To date, there has not been much to say about them, and that has not changed.

C+

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


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

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

Review: DARK KNIGHT III: The Master Race #1

DARK KNIGHT III: THE MASTER RACE No. 1
DC COMICS – @DCComics

[This review originally appeared on Patreon.]

STORY: Frank Miller and Brian Azzarello
PENCILS: Andy Kubert
INKS:  Klaus Janson
COLORS: Brad Anderson
LETTERS: Clem Robins
COVER: Andy Kubert and Klaus Janson
VARIANT COVERS: Jim Lee and Scott Williams with Alex Sinclair; Frank Miller with Alex Sinclair; Dave Gibbons and Klaus Janson with Brad Anderson; Jill Thompson
32pp, Color, $2.99 U.S. (January 2016)

Batman created by Bob Kane with Bill Finger

Batman: The Dark Knight Returns (also known simply as The Dark Knight Returns) 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.

Individually, the books were entitled “The Dark Knight Returns” (Book One); “Dark Knight Triumphant” (Book Two); “Hunt the Dark Knight” (Book Three); and “The Dark Knight Falls” (Book Four).  The series takes place in a future in which Bruce Wayne is 55 and retired from being Batman.  Gotham City's ongoing troubles give Wayne the reason he uses to bring Batman out of retirement, but Batman faces opposition from the city government and the police force.  The series introduces a new Robin, a girl named Carrie Kelley; depicts Batman's final battle with The Joker; and culminates with a confrontation against Superman, which leaves the world thinking that Batman is dead.

Batman: The Dark Knight Returns (also known as “DKR”) yielded a three-volume sequel, The Dark Knight Strikes Again (also known as “DK2”), published by DC Comics from late 2001 into 2002.   DC Comics has spent the last four years reliving its mid to late 1980s glory days, so now, there is a second sequel to The Dark Knight Returns.  This is an eight-issue series entitled Dark Knight III: The Master Race (also known as DKIII).  It is written by Frank Miller and Brian Azzarello; drawn by Andy Kubert (pencils) and Klaus Janson (inks); colored by Brad Anderson; and lettered by Clem Robins.

Kubert and Janson will be the lead cover artists, but DC is publishing numerous variant covers, about 50 for the issue of DKIII.  Each issue will also include an insert entitled “Dark Knight Universe Presents” drawn by different art teams and written by Miller and Azzarello... apparently.

Dark Knight III: The Master Race #1 opens with the return (once again) of Batman, but this time, the authority in Gotham City is even less welcoming.  Commissioner Yindel and the rest of the Gotham City Police Department are ready to take-down Batman.  Meanwhile, Wonder Woman fights and a legendary small city wants help, while Superman remains in limbo.

Dark Knight III: The Master Race #1 is not as good as Batman: The Dark Knight Returns, Book One.  Let's just get that out of the way.  DKIII colorist Brad Anderson is nowhere nearly as good as DKR colorist, the legendary Lynn Varley (Frank Miller's ex-wife), whose watercolor-like hues were both subtle and vivid.  There is nothing distinguishing about the work of DKIII letterer Clem Robins, certainly not in the way DKR's John Costanza's lettering was so distinctive.

DKIII's art team of Andy Kubert and Klaus Janson capture the spirit and some of the style of DKR's Frank Miller and Janson.  Kubert, however, does not match the imaginative page layouts and awe-inspiring design that Miller gave the original work.

There is a rumor that Frank Miller has contributed relatively little to the storytelling in DKIII.  Word is that DC Comics was developing DKIII independently of Miller and went to him after they'd already made the decision to produce the project.  At the very least, Azzarello is clearly writing the scripts.  It shows.  This is not bad work, but nothing about this suggests the imagination and inventiveness that Frank Miller has brought to all his work:  the good stuff, the bad stuff, and the ambivalent experimental work.  Azzarello, as good as he can be, cannot be like Frank Miller because he is not in Miller's league, no matter how much Jim Lee, Geoff Johns, and the powers at DC Comics pretend he is.

Things could change; I could be delightfully surprised.  But right now Dark Knight III: The Master Race #1 is no more special than any other Batman comic book that is a particularly good read.

B

Dark Knight Universe Presents: The Atom #1 (Insert comic book)
STORY: Frank Miller and Brian Azzarello
PENCILS: Frank Miller
INKS: Klaus Janson
COLORS: Alex Sinclair
LETTERS: Clem Robins
COVER: Frank Miller with Alex Sinclair

Frank Miller actually pencils Dark Knight Universe Presents: The Atom #1, with Klaus Janson inking.  And no, it does not remind me of Batman: The Dark Knight Returns or Frank Miller's run on Daredevil, on which Janson was Miller's most frequent collaborator and partner.

This has potential, but it lacks the spark of any of Miller's best work.

B

[Retailer variant cover artists and art teams:
Dave Johnson; Sean Gordon Murphy; Lee Bermejo; Klaus Janson; Rafael Albuquerque; Jae Lee with June Chung; Eduardo Risso; Jock; Walter Simonson with Laura Martin; Ivan Reis with Marcelo Maiolo; Aaron Lopresti; Tyler Kirkman with Tomeu Morey; Brian Bolland; Paul Pope with Jose Villarrubia; Gabriele Dell'Otto; John Cassady with Laura Marin; Tony Daniel with Tomeu Morey; Matt Wagner with Brennan Wagner; Michael Allred and Laura Allred; Brian Stelfreeze; Amanda Conner with Paul Mounts; Terry Dodson and Rachel Dodson; Jason Fabok with Brad Anderson; Darwyn Cooke, Josh Middleton; Gary Frank with Brad Anderson; Howard Porter with Hi-Fi; Kevin Eastman with Varga Tamás; Bill Sienkiewicz; Dave Dorman; Greg Capullo with FCO Plascencia; Stanley “Artgerm” Lau; Marc Silvestri with Alex Sinclair; Kelley Jones; Dale Keown with Jason Keith; Neal Adams with Alex Sinclair; Simon Bisley; Tony Harris; David Finch and Scott Hanna with Brad Anderson; Scott Williams with Alex Sinclair; John Romita, Jr. and Danny Miki with Dean White; Adam Hughes; Francis Manapul; J. Scott Campbell with Nei Ruffino; Tim Sale; Bruce Timm; Babs Tarr]

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


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

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

DC Comics from Diamond Distributors for February 18, 2015

DC COMICS

DEC140333     BATGIRL #39     $2.99
DEC140335     BATMAN AND ROBIN #39     $2.99
NOV140309     BATMAN BLINK TP     $14.99
DEC140323     BATMAN ETERNAL #46     $2.99
DEC140329     BATMAN SUPERMAN #19     $3.99
DEC140332     BATMAN SUPERMAN #19 COMBO PACK     $4.99
DEC140354     BATWOMAN #39     $2.99
NOV140296     CONSTANTINE TP VOL 03 THE VOICE IN THE FIRE (N52)     $14.99
NOV140298     DAMIAN SON OF BATMAN TP (N52)     $16.99
DEC140276     EARTH 2 WORLDS END #20     $2.99
DEC140411     FABLES #149 (MR)     $2.99
DEC140361     GREEN LANTERN NEW GUARDIANS #39     $2.99
NOV140297     GREEN LANTERN NEW GUARDIANS TP VOL 05 GODKILLERS (N52)     $16.99
DEC140375     INFINITE CRISIS FIGHT FOR THE MULTIVERSE #8     $3.99
DEC140372     INJUSTICE GODS AMONG US YEAR THREE #10     $2.99
DEC140263     JUSTICE LEAGUE #39     $3.99
DEC140266     JUSTICE LEAGUE #39 COMBO PACK     $4.99
DEC140418     KITCHEN #4 (MR)     $2.99
DEC148184     MORTAL KOMBAT X #1 2ND PTG (MR)     $3.99
DEC140257     MULTIVERSITY MASTERMEN #1     $4.99
DEC140296     NEW 52 FUTURES END #42 (WEEKLY)     $2.99
DEC140355     RED HOOD AND THE OUTLAWS #39     $2.99
OCT140402     SCALPED HC BOOK 01 DELUXE EDITION (MR)     $29.99
DEC140374     SENSATION COMICS FEATURING WONDER WOMAN #7     $3.99
DEC140318     SUPERGIRL #39     $2.99
DEC140315     SUPERMAN WONDER WOMAN #16     $3.99
DEC140317     SUPERMAN WONDER WOMAN #16 COMBO PACK     $4.99
DEC140300     TEEN TITANS #7     $2.99
DEC140399     TEEN TITANS GO #8     $2.99
DEC140302     TRINITY OF SIN #5     $2.99
DEC140303     WONDER WOMAN #39     $2.99

DC COMICS/DC COLLECTIBLES
JUN140335     BATMAN BLACK & WHITE STATUE BY RISSO 2ND ED     $79.95
NOV140358     DC COMICS NEW 52 NIGHTWING AF     $24.95

I Reads You Review: UNCANNY X-MEN in Days of Future Past

UNCANNY X-MEN IN DAYS OF FUTURE PAST
MARVEL COMICS – @Marvel

PLOT: Chris Claremont and John Byrne
STORY: Chris Claremont
PENCILS: John Byrne
INKS: Terry Austin
COLORS: Glynis Oliver
LETTERS: Tom Orzechowski
EDITORS: Louise Simonson (original), Gregory Wright (reprint)
EiC: Tom DeFalco
COVER: Jackson Guice and Scott Williams
ISBN: 0-87135-582-5; paperback (1989)
48pp, Color, $3.95 U.S., $5.00 CAN

One of the most famous stories ever published in an X-Men comic book is known as “Days of Future Past.”  The two-part story was originally published in The X-Men #141 (“Days of Future Past,” cover dated: January 1981) and #142 (“Mind Out of Time!” cover dated: February 1981).  The popularity of “Days of the Future Past” is affirmed in the fact that the story has been continued and retold and has also influenced and inspired other X-Men publications and stories in the decades since its original publication.  This story is also the basis for the shortly to be released film, X-Men: Days of Future Past (20th Century Fox, 2014).

“Days of Future Past” was the creation of writer Chris Claremont and artist John Byrne, who were both credited as the story’s “co-plotters,” with Claremont providing the script and Byrne providing the pencil art.  Their collaborators were Terry Austin (ink art), Glynis Oliver (colors), Tom Orzechowski (letters), and Louise Simonson (editor).

I first read the story ages ago.  It simultaneously stunned and thrilled me, so much so that I immediately reread it.  This story had it all:  a dystopian future, an assassination conspiracy, dead X-Men, X-Men in peril, X-Men murdered before my very eyes, Sentinels (which were then new to me), the Brotherhood of Evil Mutants, and a superhero/super-villain battle.

The X-Men #141 also probably has one of the most famous (if not the most famous) X-Men comic book covers.  Over the years, I made reading “Days of Future Past” an annual event.  One of my repeat readings was courtesy of a 1989 single-issue reprint entitled, The Uncanny X-Men in Days of Future Past.  When I recently discovered that I no longer had a copy of this comic book, I bought one from Mile High Comics, during a sale.  Because of the new X-Men movie, I decided to read and review The Uncanny X-Men in Days of Future Past.

“Days of Future Past” alternates between the (then) present year of 1980, and the (then) future year of 2013.  The X-Men #141 (“Days of Future Past”) opens in the year 2013.  The story introduces a dystopian future North America that is ruled by the mutant-hunting Sentinels.  Mutants are incarcerated in internment camps, and people are classified by their genetics.  The Sentinels not only killed almost all the X-Men, but they also killed many superheroes, including the Fantastic Four.

We meet an adult Kate Pryde.  She is one of the last surviving X-Men, along with Wolverine, Storm, and Colossus.  Kate and the X-Men join Magneto, Franklin Richards (son of Reed Richards and Sue Storm of the Fantastic Four), and his girlfriend, a telepath named Rachel, in a seemingly-impossible plan to travel into the past and change the horrible era in which they live.

On the eve of a feared nuclear holocaust, Kate’s mind travels backward through time to posses the body of her younger self, Kitty Pryde.  There, she convinces the X-Men: Storm, Wolverine, Colossus, Nightcrawler and Angel that they must stop a plot by the newly reassembled Brotherhood of Evil Mutants:  Mystique, Destiny, Avalanche, Pyro, and Blob.  The Brotherhood plans to assassinate United States Senator Robert Kelly, a pivotal event in mutant–human history.

The X-Men #142 (“Mind Out of Time!”) finds the X-Men and the Brotherhood of Evil Mutants in a pitched battle in and around the Congressional building.  Meanwhile, in 2013, the few remaining X-Men make their last stand.

Apparently, Marvel Comics has designated that “Days of Future Past” takes place in Earth-811 in the Marvel “multiverse.”  When I first read “Days of Future Past,” I saw it as probably the real future for the X-Men.  I also saw it as the height of the X-Men run by the team of Chris Claremont, John Byrne and Terry Austin.  There would be no letdown, however, as this team would produce only one more issue of the X-Men after “Days of Future Past.”  Byrne exited the title to become both a writer and an artist, taking over the Fantastic Four.

As much as I have enjoyed reading the X-Men comic books that came after “Days of Future Past,” only a few have even come close to being as close to this Claremont-Byrne classic.  I think some people consider this Byrne’s best work as an artist.  For a long time, I agreed with that, but, as an artist, Byrne would go on to produce much more polished work, with a stronger sense of composition and design than what is found in his original X-Men run.  As a writer, I won’t compare his collaborative X-Men work with his work as a writer-artist on Fantastic Four and on various Superman titles.  Indeed, he was really good on those, too.

I think of X-Men #1 to #66; #94 to #143 (the final Claremont-Byrne-Austin); and Giant-Sized X-Men #1 to be the core of X-Men “mythology.”  Everything that springs after these issues is not quite fan fiction, but much of it seems like a vain attempt to replicate the Claremont-Byrne blueprint.  I think the reason why “Days of Future Past” means so much to me is because it marked the end of an extended run of what I see as the best and the most important of the X-Men.

From the publication of the first issue of The X-Men to “Days of Future Past,” the title introduced startling new concepts, offered gripping narratives full of drama, melodrama, and soap opera, and sometimes presented visionary graphics, graphical elements, and graphical storytelling.  Pretty much everything since “Days of Future Past” has been a rehash, a copy, or a slavishly inspired remake.

A+

Reviewed by Leroy Douresseaux


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