#wanting joker stopped but feeling like there's some mysterious force (the writers) in the universe (the comic) always keeping him alive

[brucie-baby]

unnecessarily sad over the inherent tragedy of comic book characters like batman. he loves his city and he wants everybody to be safe and he hopes that one day gotham will no longer need batman but that will never happen because the story can't end. his city will never get its forever happy ending because that doesn't sell comics. quite literally doomed by the narrative because the story must go on. crazy. sucks for that guy.

[fractualized]

Zdarsky’s run on Batman ends soon, thoughts? 🎤

lmao I feel like I could either toss out a dismissive one-liner or rant for like a dozen paragraphs. Guess I'll go with the latter.

We'll, I'm certainly not going to miss him at the helm. I read Batman: The Knight, and even though I agree with the criticism of the end, it showed competent storytelling with a good emotional core, which is the most basic of standards, but let's be real, this is comics, I'll take competent any day. And when his Batman run started, I had caught up on Snyder-King-Tynion Batman and was excited to follow a run in real time.

I'd say I stopped having a good time when Bruce got sent to the alternate universe. Penguin faking his death was fun. Bruce being pursued by a dramatic robot version of himself was fun. Bruce again fretting about protecting the family was… par for the course. Calling back to Zur-En-Arrh didn't bug me because I hadn't read that full storyline yet, so it felt like a gateway to digging back into lore. Bruce surviving a fall through the Earth's atmosphere was too fucking ridiculous but the kind I can look past. (Imagine you're a DC writer. You have the idea: lol what if Batman got out of this by surviving a fall from the moon. You have opened that door in your mind. Do you have the will close it or would you be like FUCK IT LET'S DO IT?)

The Red Mask universe, however, dragged any momentum at that point to a stop, and I honestly don't care enough to dig deep into all the reasons why, which I guess gets at the core of what was wrong with the Red Mask universe. (Skeleton Jim Gordon was the most interesting thing but he was just a temporary side effect or something? Whatever.)

But, of course, since I'm a Joker fan, Darwin Halliday was a major sticking point as the most boring Joker to never joke. Nearly everything Zdarsky did with Joker was a major sticking point.

It still drives me crazy that from Snyder to the Zdarsky run, we had a Joker who tried to force Bruce both away from the batfam and Selina and back to basics multiple times, so their battle could be one-on-one again. We had a Joker who, after Bruce left him to die, was notably depressed and suicidal at the end of Joker 2021. He is still that way at the start of The Man Who Stopped Laughing.

And you could follow from that with the basic beats of what Zdarsky did. You could say Joker is disillusioned with his relationship with Batman, and that's why he turns to Zur-En-Arrh, a real Batman. But no, everything has to be too fucking complicated. We have do yet another retcon of so much other stuff and say that Joker always was looking for Zur. And we have to a weird take on Three Jokers because people were really biting at the bit to get a real answer within canon like a decade after Johns wrote that nonsense?? I don't know, I don't do marketing research, but I'm pretty sure if they just quietly never addressed it, it would be fine.

And the freaking Captio stuff. Ugh. UGH. I really just. I feel like this is a product of overthinking. "Well, Batman is so thoroughly trained, it only makes sense that Joker had at least some of the same training to beat him." No. Fuck that. We don't need that. Joker rivals Batman out of sheer audacity. I like that it doesn't really make sense that a clown pushes him to the limit. I like the juxtaposition of Bruce having to do so much training and learning to survive, but Joker is a cockroach revived by the narrative. I like Joker being a plague and a mystery that Batman cannot resolve. I like Joker being essentially absurd. No, it doesn't make sense, but he's here to stab you out of love and you better know how to dodge.

So much of Batman comics now are not about telling a fun Batman story. They're stories about Batman stories, just circling back and cannibalizing each other into a total fucking mess, and putting the city on the brink of destruction so much that those stakes no longer have meaning. There has to be a writer out there who wants to get back to just telling a smaller action/detective story that makes the reader give a shit about what's happening instead of feeling like maybe they're just not getting it, like they missed homework.

And I say that as someone who started reading Morrison's full run when Zdarsky's started so I could have the Zur background. I had to pause when Morrison's writing got to be too much (for the bad reasons!). I intended to jump back in again, but then Zdarsky's run nosedived and the effort no longer seemed worth it.

Especially when everything paused for Gotham War. Jesus Christ. The only good thing to come out of that was Rosenberg's second Red Hood issue. But speaking of Gotham War, I do wonder if there'll be an article years from now that will reveal Zdarsky had to deal with too much editorial fiat. He had to interrupt his Zur story not only with the badly executed Catwoman plot and the Knight Terrors, but cram in a Three Jokers explanation.

And speaking of Rosenberg, I can't end without mentioning that because he started TMWSL around the same time Zdarsky started on Batman, and they both had their protagonists dealing with other versions of themselves, man, there was such potential for a crossover event. Me and my pals had lots of fun theories about how these series would converge, because the idea that they wouldn't seemed ridiculous. There were two Jokers in TMWSL, and at the same time in Batman #131, Halliday seemed to have created three of them. I didn't like Halliday, but still, what did that mean? It would be ridiculous for those developments to be unrelated, right? RIGHT?

Joke's on us, as usual. 🤪

[clownprince]

tmwsl and the joker as a character

i'm of the opinion that one of the major reasons joker is so successful as a character is that, even more so than other fictional characters, he lends himself easily to a multitude of extremely varied interpretations -- he can be anywhere from chaotic or calculated, impulsive or meticulous, light-hearted or violence incarnate, a devil figure or simply a broken man, or all and none of these things, depending on how he's interpreted by the individual. in other words, he truly embodies the spirit of the joker card, in his versatility and mutability. and while it's certainly valid to dislike certain interpretations, it's reductive to act as if there's only one singular, objective "true" joker. and rosenberg seems to have a similar view:

"There's all these different interpretations and iterations, and it starts to become this real mystery in the real world of what this character is and what he can be... You'll get other people interpreting characters and redefining them and changing them, but the Joker doesn't have a solid foundation that we know..." (x)

rosenberg has said in interviews that his intention with the joker: the man who stopped laughing wasn't to radically alter how people view the joker:

"I sort of take issue with the idea of changing the way readers approach the Joker. I don't ever want to do that. That's not who I am as a writer... So, I'm hoping that in a year or two, when my story is out there, and there's more of it, it causes people to think differently, but I'm not trying to reinvent the Joker. I'm not trying to radically alter him." (x)

and i'm assuming that by "changing the way readers approach the joker" he means this:

"The whole idea is we're trying to challenge what you know about The Joker and what you think you know about him. I always feel like Joker works best when you have more questions about him than answers, and so we're trying to really raise as many questions and keep you unsure of what you know as it goes..." (x)

joker himself is a very meta character in the sense that he draws attention to the role that the audience plays in the re/creation of fictional texts, i.e. their interpretations -- and it seems that tmwsl is supposed to draw attention to that process of creation, of people constructing their own unique versions of characters. so when i say that tmwsl could be considered metafiction, or at least could be described as a very meta comic, i mean it in that sense -- but also, it's crafted so that there's compelling evidence for and against either joker being the "true" joker, and the art of this is that it forces readers to examine what they consider "in character" and "out of character" for their joker, or, more broadly, who joker is to them.

i understand why people might be irritated at the ending. but i think it fits well with the essence of joker as a character -- and yes, i know that i've been arguing that joker doesn't really have a true essence, and i'm not contradicting myself -- his mutability, fluidity, subjectivity, are some of the few aspects of his character present throughout every iteration; he's consistent in his inconsistency. on both an in-universe level and a meta level, he thrives on ambiguity, refuses categorization and clear answers. and the tmwsl ending reflects that on a textual level, which i honestly think is fantastic, and works uniquely well for this specific narrative.

anyway, what i'm trying to say is that while everyone is entitled to their opinion and it's entirely understandable why some people might not like this ending, i'd encourage people to read and evaluate it as a work of metafiction, or a kind of extended meta on joker as a character, rather than as a more conventional fictional narrative with all the expectations and standards that accompany it.

[drtwit]

RWBY and the Shades of EEEEEEVIL!

Villains aren’t exactly uncommon, in fact, you could say they’re a constant thorn in the side of reality that only exist to make a story complicated. They hurt our favorite characters, monologue a second too long, spout threatening one-liners they probably spent weeks in front of the mirror preparing, and sometimes they even have the audacity to have sympathetic qualities just to mess with us even more. In short, they’re a bit rude. However, we’re not here to talk about the sympathetic and redeemable qualities of our nefarious opposition. No comebacks here. No, we’re here to discuss the bushy mustache twirlers, the little Hitler youths, whiny brats and the candy thieves who have a pronounced hatred of puppies.

With pure evil characters who are there to break the story over their knees and practice their maniacal laughter, it’s often that writers forget to incorporate the character’s motivation, or at least fear the mention of that motivation. See, I find that many people find it hard to recognize that even for the most insane and cartoony of bastards, there is a reasoning, however twisted, behind their actions. The Joker commits crimes to spark chaos, push Batman to question his moral code and prove life is just one big joke. Darth Sidious wants to control the entire Galaxy and believe that nothing can be allowed to surpass him, not even his legacy. Zamasu wants to fulfill his image of a perfect universe and see’s Mortals as a stain upon reality. Prince Lacroix wants a bigger dick... Oh yeah, and something about fearing super powered Asians and the apocalypse, but I think he’s just racist. They have motivations and their actions are fueled by how they reason they can achieve their goals.

In RWBY, we have our fair share of evil ice cream flavors. Power hungry Fem Fatal? Darwin’s Edgy Fangirl? Sinster Overlord shrouded in mystery? Extremist swallowed by his hatred? Mustaches? We have them all, so feel free to choose your poison. But the one I want to talk about to illustrate this trend is the most pure evil of the bunch: Jac-ass Schnee.

This blight upon the good name of a bitching stache has been a point of apathy for me in the show, both as a character who always managed to feel like a background character forced to be an antagonist and as poorly done part of Weiss’s arc. He’s the best example of what happen when you need a character to always be a villain, no matter the scene, no matter the context, he always has to be hatable and pathetic to make sure you still hate him. This leads to a rather inconsistent character.

There’s a previous point of contention the fandom had with his post-volume 3 portrayal, where both in the way Weiss acts and how he’s mentioned prior to volume 4, there seems to be a disconnect to the abusive corporate worm we’d eventually meet. In the first three seasons, he and his company is something that Weiss clearly tried to emulate, something Weiss seemed to take enough pride in to be such a snob about it, something that Weiss goes out of her way to defend against accusations from Blake. You get the idea that Weiss’s father is harsh, distant and negligent, but that he’s still someone Weiss seems to hold a little affection for. Go to volume 4 and the way the two interact make it suddenly makes prior Weiss moments rather questionable, she seems suddenly very clear about how much she doesn’t like him, he’s very obvious with how much of a dirt bag he is and the everything we learn about the SDC and Atlas elite in general make it hard to think Weiss wouldn’t have agreed with Blake back in volume 1. Hell, I found it odd how Winter back in volume 3 cared about Weiss not returning her abusive father’s calls, you’d think Winter would be like “Yeah, fuck ‘em.”

But okay, maybe it’s just some subtleties missed, Jacques is the straight up corporate sleazebag, doing anything he can to get that payday. He has money, and he knows how to use it, dominating the market and knowing which shortcuts to take to move things in his favor. Now, let’s strip away these elements to the concrete core of the the type of evil Jac is. His evil is one of apathy towards morals in the face of greed. He wants money and power, and doesn’t care what he has to do to get it. He’s a good business man who’s worked his way up the ladder. This worked for volume 4, he uses Weiss as a symbol of sympathy towards future buyers at a party, he pretends to care about the fall of Beacon to look good and slaps Weiss when she starts to threaten that with her antics.

And then here comes volume 7 to take him down in the lamest way possible. We have the build up: Weiss running away, the songs about her wanting to break free, the whole motivation of bringing the SDC back to it’s former glory, the fear of having to return to Atlas on her own, ect. He’s her personal villain and as such you’d expect her returning home after he’s had two volumes to build up his already substantial power during a crisis where his business is needed more than ever, he’d take on a rather daunting role as secondary antagonist to Watts and Tyrian. Our first scene with him in volume 7 tells us the answer.

He storms in, easily loses his cool, is revealed that no one really likes him, Ironwood makes it clear he has very little power here, he’s unable to do anything other than throw petty insults at Weiss and immediately he’s stopped being the corporate bastard he’s supposed to be. This continues with the rest of the volume with him, where the writing seems to make him multiple villains at the same time and reduce him to Watts’s mindless flunkie who could have been replaced by any character. His actions don’t connect to his motivation and situation, there’s nothing that makes me believe that he actually reasoned that this would advance his goals.

He’s a ruthless business man who brought the SDC from poultry earnings to a global monopoly. But he doesn’t have one lick of charisma or cunning to the point he thinks taking away people’s jobs will get them to support him rather than hate him.

His company is constantly facing controversies, accusations and attacks with apparently everyone hating him. But he has shit security and isn’t the least bit paranoid of bugs from potential journalists in his house.

He wants money, power and security. But goes along with Watt’s plans that clearly weaken Atlas’s defenses and isn’t suspicious at all at Watts wanting admin access to Mantle’s entire system with no attempt at insurance in case the clearly suspicious mad man doesn’t stab him in the back.

He doesn’t care about Weiss at all, she’s simply a means to an end, even disowning Winter for joining the military. But he still let Weiss attend Beacon, went back to get Weiss from Beacon when he had Jac 2.0 on standby to be his heir.

He’s a man who’s been in the game of feeding people bullshit for years to justify his bad deeds. But he immediately crumbles the moment he’s accused of anything.

He wants to sweep all accusations of unfair labor practices under the rug so they don’t damage his business. But apparently he allowed faunus to get branded with his logo.

On and on it goes, where his motivation is thrown away because “He’s evil, he doesn’t need a reason to do bad things.”. Joker wants to push Batman over the edge, thus he creates a situation that fucks with Batman’s moral code. Sidious wants to crush the Galaxy’s hope, so he constructs a symbol of fear big enough that it can be seen looming overhead from the planet below. Zamasu wants to purge the universe, so he takes the body of the man who embodies the ‘sins’ of mortals and travels to another timeline to make sure the much more powerful Gods and Zeno can’t interfere with his plans. La Fuckwad knows that everyone is looking for an excuse to get rid of him and knows the apocalypse might be coming, so he manipulates a fledgling vampire to get him the sarcophagus of an ancient vampire so he can absorb that refine ‘87 vintage blood wine and become powerful enough to survive.

You can see how they reason they need to do the things they do to achieve their goal. What connects A to B. The only way Jac’s action sync up with his motivation is if he is such a profound moron that Weiss besting him means nothing. “Wow, you beat the illiterate kid at reading, well done.”

As I stated earlier, Jac is viewed strictly as a bastard, strictly as Weiss’s antagonist, in every scene the show has to push in our faces that he’s the bad guy and that Weiss is superior to him. He never gains an advantage over Weiss, or puts Weiss in a difficult situation, he never has a real chance in this story. He is there to be arrested by Weiss. Every scene changes him to be the villain it needs for him to be for us to hate him the most. So, in some he will be calm and composed to frustrate us, while others he’ll be made to yell like a petulant child to make him pathetic and other’s he’ll just be stroking his mustache. His first confrontation with her ends with him getting slapped down and humiliated, then he’s just a yes man who does what Watts tells him to do with no thought or agency, then Weiss just walks into his party, get’s handed victory on a silver platter and arrests him.

That’s it. You got your ice cream flavors, and all of them can be pretty good on their own. However, if you get a bunch of them, stick them in a bowl and then just take a few bites and leave ‘em out in the sun, all you’re gonna get is regular intervals of a muddy looking puddle that eventually becomes grey sludge.

[darkspellmaster]

Young Justice Theory: Connections to the Crisis Quartet....

So about this rather interesting spoiler I discovered thanks to the CBR board... Better safe than sorry on this one because if this turns out to be true then it’s a doozy of a situation that the crew is going to be put into. So a fair warning before you dive in...there are spoilers below to several DC comic events: Identity Crisis, Count down to Infinite Crisis, Infinite Crisis, Identity Crisis, Crisis on Infinite Earths, 52, Countdown to Final Crisis and Final Crisis. 

These stories contain: Death, some gore, and at least one has a rather unpleasant factor of rape being involved as part of it’s story. Because I’m going to be discussing the above things partly in this and there will be pictures that might upset some people I just want to give people a heads up. You have been warned going in. 

Okay so what the hell am I going on about and honestly when I was reading this I was freaking out. So a post of so ago I mentioned some theories about this season and talked about the possibility of the Anti life equation factoring into the story. Thanks to the gallery for the next three episodes, this wonderful post here from Spitfire or Bust, the Behind the scenes footage from this season on the DCUniverse, a post on CBR’s forums, and a link to  young justice.tv spoilers, I can almost 90% say Seasons 3 and 4 and possibly 5 will be dealing with the Crisis Quartet, or at least three of them, from DC’s main comics. 

We know that this is going to be a thing as Greg already confirmed in season 2 that season 3 was going to deal with Apokolips, just not how much directly (as this story can’t be told in 26 episodes, no way in hell it would be horribly paced). 

We also know that the names of the episodes have been pretty much confirmed as Episode 11 is Called Home Fires and the Behind the Scenes image confirmed the title in the image that we see with Iris and Bart. 

The site in question has it as episode 9, however this confirms it as Episode 11. However they have the others right so far, so either BTS got the number wrong or the site did. Doesn’t change the factor that there’s some thing interesting in the titles. 

Take each of the first letter of the first word of the names of the titles, and you get: 

Prepare the Anti Life Equation. 

This little message, has ties not only to Apokolips and Darkseid, but it also has ties directly to the Crisis Quartet and the fall out that happened after. 

So first what is the Quartet? Well it is a group of four Crisis that happened in DC comics, three of which were between 2004 to 2010, while the first happened in 1985 -1986 and affected all stories that followed going forward after it. 

So to simplify things. Here’s a fast rundown on the important factors about these Crisis and their connections to YJ Season 3, 4 and maybe 5 if things go well. 

So Way back in the 1980s DC was having issue with keeping up with it’s own continuity because there was so many books and worlds. Because of this and their own anniversary coming up they tasked then Teen Titan’s writers Marv Wolfman and artist/co-writer Jorge Perez, to come up with an event that would solidify the DCU’s continuity. These two came up with: 

Crisis on Infinite Earths: 

Now this story while really important as the backbone in the main DCU going forward doesn’t have as much to do with YJ in the long run as of yet. But it does have some important factors that will be coming into play I think later on, and we already saw a part of this happening in Season 2 with Walley vanishing. So bullet points ahoy for only the things that are important in this story for later in comments. 

Short and long of it is that a being named the monitor trying to stop another creature named the Anti-monitor from destroying the Universe. All the different DC worlds come together to fight him, Super-girl dies, along with several other characters, during this event where all the worlds in DC merge into one world with a over all collected history.  (This collection is still in print and you can find it at your local bookstore or comic shop.)

- Barry Allen vanishes as he’s running from the future or from an event that is coming from the future to warn Batman and the others an disperses into the speed force. 

We’ve already seen this with Wally in his run where he vanishes in season 2 following a pattern of what happened to Barry. 

- Superman from the Golden age, his Lois Lane, Alexander Luthor (son of Lex Luthor from another earth where the Villain versions of the JL resided and Lex and the others there are heroes), and Superboy Prime ( a superboy that is the lone hero of his world) all are put into a pocket dimension as the worlds are merged into one. 

We haven’t had that yet, but it’s an important point in later stories. The reason I bring these guys up is because of their role and how other characters can easily fill in for them in the coming events. 

Fast forward several years. The DC Universe has been remade and during the later part of the 80s and into the 90s we saw the whole “let’s go dark and gritty” thing happen. Characters like Batman had their back broken, Superman died and was reborn, Wonder woman had to figure herself out. There were light spots, JLI for example and parts of the Teen Titans, but a lot of things grew darker. Like the Outsiders and the whole Judas contract. While things did lighten up a lot in the late 90s and into the 2000s, we got Lois and Clark married by then, Jason died and came back to life, Babs got shot by Joker, YJ and a lot of other books that were more upbeat came about in the mid to late 90s, However DC decided that there was still a lot of things that could be fixed and decided to create, basically for the upcoming Anniversary of CoIE, a new set of crisis to happen. 

This started with Brad Meltzer’s quasi thriller:

Identity Crisis

This story actually has importance. While not as exact as the other stories in regard to what’s happening there are enough key things going on here. The major plot point is that someone has murdered Elastic man’s wife, and the JL has a dark secret revealed that rocks every one. (Again you can find it still in print.) 

One of the main reasons that there is significance to this story is not only does Batman leave the Justice League but also there is some tie in to characters in the past and their actions. What’s interesting here is how this narrative can be woven into the recent events of Season 2 and could become significant in season 3 and 4 given what’s going down now. 

-Zantana mind wipes Dr. Light and several other villains, and does the same for Bruce when he discovers what’s been going on and is against the altering of Dr. Light’s mind. 

Connections here may not be obvious as its clear the story line is taking Bruce leaving from the creation of the Outsiders. However there is significance here in that Batman doesn’t trust the league at this point, which adds into his paranoid view of the world at times. 

While it’s clearly not Zantana in this case, Megan has been showing similar actions in season 2. We saw her changing Conner’s memory in the past season, and we know she did the same to Psimon, and Kaldur. We can’t be sure if these were the only cases, as Greg does like to play with expectations. 

It would not be too much to buy into the idea that Psimon could play the part of Dr. Light in this story and eventually come back to form a group of villains that were mind altered by M’ggan. Now while I don’t think it will be exactly the same I feel like there’s going to be backlash from people when they find out what she did two years ago. As shown when Gar mentioned that it wasn’t cool what she did to Conner when he found out. And you know that Batman will be pissed by this, wondering if she did the same to Dick, not to mention Kaldur and wondering if he’s compromised. 

-Deathstroke takes on the League and beats them by himself. 

Deathstroke is known for being a bit OP at times, but in this story he outdid himself when he took down the whole league. We haven’t seen this happen yet as he’s only been in a handful of scene’s but given that there are hints of him returning, what with Tera missing, it wouldn’t be that hard to buy into the idea with the titles we have of one of them leading to a defeat of the whole YJ team, and pretty much protecting whatever investment he has been hired to protect. 

Not sure how he’s going to fit in or who’s he’s protecting as of yet, because he was hired by Dr. Light in the original, but I feel certain that he’s going to end up causing a lot of issue for others in this case, more than likely Aquaman and possibly Geoforce. 

-Events cause Batman to create Brother Eye, leading to the OMAC project

So because of the fact that Bruce figured out he was mind wiped by Zee, he decides to create the Brother Eye satellite that eventually goes rogue because of Maxwell Lord and Alexander Luthor mucking about with it. The main goal was to have the Satellite watch Metahumans because of the mind wipe that Batman and other had had. 

Now we recently saw the appearance of Brother Eye, don’t believe me, just look at Oracle’s eye at the moment. It’s purple and it’s the same shape as the Omac logo. Thing is, Omac’s colors, along with Brother Eye’s are purple, Oracle’s are traditionally green. 

This means that Bruce already may have built the Brother eye set up, since we don’t know if Babs could have built that sort of set up. This seems more like a Bruce thing. In addition to this, if he already has the Brother Eye project going this means that he probably knows about M’ggan doing her mind things, but isn’t telling anyone that he’s keeping an eye on them. Why? Well it’s Bruce, he’s paranoid. 

So what would this mean for this season and upcoming ones? Well...

Countdown to Infinite crisis 

In this case the story line was covering Ted Kord -Blue Beetle, who had tracked down a mystery which ended up getting him killed by his former friend Maxwell Lord who had taken over the Omac project and brother eye.  

-OMAC project lead to the death of Ted Kord via Maxwell Lord and then this allowed Checkmate to take over Superman and have him nearly kill Batman and Wonder Woman and the other JL members. Leading to Wonder Woman to snap his neck and kill him to stop the whole thing from going down. 

So one key thing here, Maxwell Lord was sort of the “Charlie” to the JLI’s “Angels”. He sent them on missions and the like, and while he wasn’t exactly a bad guy, he wasn’t exactly a good one either. By the end of the series he had realized a lot of his own faults and dealt with some issues that would take a while to discuss, so let’s say that he redeemed himself...

Then DC said screw it, we need a villain and made him become the head of Checkmate, a black ops/Shield like organization in the DC universe. He killed Ted Kord when he found out that Max was going to basically use a bunch of cyborgs and take over Superman’s mind. 

Now while we know that Ted died when he stopped Sportsmaster and Deathstroke from obtaining the scarab, and we assume it was the Light that sent them to get it in the first place, there may be some connection to this part of the story given that we may see the play out of the mother box and possibly Ted having found out info prior to his death about certain things happening. I don’t think they will go for the “Wonder woman snaps necks” but it’s possible that something else will take it’s place. 

(Okay strike that...given what happened recently with Halo in episode 6, I can see them allowing this if it’s within the reasons for the story.) 

It is important though to note that if Brother Eye is involved this could lead to an additional army for Darkseid. Brother Eye and Omac did eventually control Superman, which could be something that may happen in YJ as an option. They also became a dangerous group that attacked everyone on earth trying to protect them from Metahumans. 

And what are we seeing a huge backlash against in Markovia? Metahumans. 

-During events prior to Infinite Crisis several events happened that caused a lot of issues. Among them being a point where Superboy (Conner Kent/Kon-El) was triggered by Lex to attack the Teen Titans at the time.

While this hasn’t happened yet, we do know that Conner has DNA that links to Lex, and in this story line Lex allowed for the triggering of his DNA to basically cause Conner to shave his head and become a villain that went on to try to decimate the teen Titans. 

It’s not that hard of a guess that this could be something that could happen to him given that we’ve seen them pair up Brion with Superboy and it seems if anyone can take him on head to head in regard to raw power it’s Brion. This could lead to a moment of Brion trying to help his mentor. 

-Following Identity Crisis and during the lead up to Infinite Crises we had Day of Vengeance, where the Rock of Eternity that housed the powers of Shazam was shattered by the Specter due to breaking from Hal Jordan. 

Here it’s less about the Specter as we have not seen him in YJ proper, but the idea that someone could attack the Rock of Eternity is a rather big thing. Remember we have two powerful geological users here, and it could come down to Terra doing that over Specter in this case. Either through use of her own powers or possibly enhanced by New God equipment. 

Reason I at all bring this up is the focus on Billy in Episode one and how no one yet knows his secret ID. This may become important later as if that Rock breaks, Shazam and all his power are gone and Billy would be revealed to be a kid. This would be something Greg would do to weaken the JL and lead to Superboy having to take on something more powerful without the Big Red Cheese to help him out. (For those that don’t know that’s the nickname of Captain Marvel -Shazam.) 

Billy falling from the sky leads to the start of Infinite Crisis, which would be a very strong opening to possibly season 4 or towards the end of season 3. 

Villains United

The reason I bring this up is because this group seems to be likely the new Light. Humor me here for a moment. In Villain’s united,follows a series of events where an individual by the name of Mockingbird groups together the organization that will be later known as the Secret Six to stop the Secret society of Super Villains that seems to be run by Lex Luthor. The story goes on to have ties to the events of Infinite Crisis, but also build up to some very interesting revelations in regard to Lex and Alexander Luthor. (You can still get this run at the book store.) 

The thing about this mini series is that there’s a lot of things going on in there that could easily show up in the next few seasons of YJ. 

-Lex Luthor who is the president amasses an army to stand against the super heroes. 

We’re already seeing that Lex as Secretary has plans and is playing against the Justice League with the UN. We’re also seeing that there’s an army being made for fighting via Darkseid, but it’s clear that there’s more to it than just them giving him kids. We’re also seeing the Lex is helping to get others to dislike the Metahumans, the JL and possibly heroes. 

Now while there is no Alexander Luthor (as far as we know), we also know that Lex, like Ra’s isn’t a man that just would let Darkseid walk all over his world. So I’m curious about this. If he’s playing up the dislike for Metas and heroes as a means of using them against something bigger. 

-the Secret Society of Super Villains consists of Dr. Psycho, Deathstroke, Talia al ghul, Black Adam, Calculator. 

Of these characters we’ve seen at least three on the show so far. Talia was just shown this season, though I don’t know if she’s going to have any role working with the Light. She could easily be replaced by Queen Bee, DeathStroke we know is probably connected to the League of Assassins and could be representing them for the Light group (though that could be another person as well) and was on the show in season 2, Black Adam was shown in Season 1 and as for the other two, we know Count Vertigo is working with them still, so you can take out Dr. Psycho, and since we now have Oracle, I would expect them to get Calculator to counter her at some point in time. 

-Cheshire, Vandal Savage’s daughter and other characters that have played parts in YJ play a part in this story and here we learn about opposing groups in that story to the villains group. More importantly we learn that Lex may be playing more than one side. 

We’ve seen last season that Lex is willing to play around a lot in regard to the side he’s on. This story line could be used as an explanation to where Cheshire is at in YJ and maybe show that there’s more going on that the kids and the JL doesn’t know about. It would certainly fit into the idea of more information in coming seasons and also could be used to push Luthor into becoming President. Which is honestly where I think Greg is going with this. 

With all the new information coming out with these last three episodes, I think there’s more clues showing up for the option of Infinite Crisis happening and how that is connected into Final Crisis. 

Infinite Crisis

This long event series, written by several of DC’s best writers at the time, covered various events that had linked to the events of Crisis on Infinite Earths. This story was coinciding with the anniversary of COIE, and heavily mirrors it but also acts as a book end to the after math of the more hopeful ending of that one with a mixed bag of an ending with this one. Several well known character’s end up dead, we get a new villain, and some massive changes happen to the characters that it would take another Crisis to undo. 

The important thing about Infinite is it’s sort of the middle event, or Empire like story, for these Crisis. It also plays a role in leading up to events in Final and setting the ball rolling for Darkseid to make his moves. 

We have a number of important characters that play a huge role in Infinite Crisis and then later Countdown to Final Crisis and Final Crisis itself already on YJ and it seems like this story has aspects that could easily fit in with this season or the next. 

-Actions taken by the main trio of bad guys in this lead to the destruction of the Watchtower, and the trinity fighting with one another. Superboy Prime kills several people including Superboy, Kal -L (Earth two Superman) tried to get batman on their side but he refuses, They’re trying to use earth as a tuning fork to create a paradise and reshape the many different worlds. 

While there are a lot of things in this story that I don’t see happening, I do see a few that can be used to effectively lead into Final Crisis. For one thing having M’comm replace Superboy Prime and also have him act as the instigator in various fights and wars by having the Martians go and pretend to be other characters. 

We’ve already seen that Conner is engaged to M’ggan and her brother try to enlist her the same way that Kal tries to get Batman to join him. We’ve also seen the images of brother eye in the form of Oracle’s set up, and that the Mother boxes are being used in some way. M’comm is arguing for a revolution to make a paradise like world and we know that he is extremely strong and could easily play the part of Superboy Prime if he wanted too. We also see he’s willing to kill, something that SBP was more than willing to do, and blamed others for his actions. 

These smaller items could lead into more dramatic moments later in the series, including Superboy’s death as a possibility. 

Important events by the end hint that Bruce goes off with Dick and Tim to train, Diana returns home to find herself, and Clark has to lay low and rest to get his powers back after the events in the story. Given what we’ve been seeing with the recent episodes, we may be seeing similar things going on here. Bruce leaving to train with Dick and Tim seems likely as the story line seems to be invoking Judas contract as well and probably will be affecting Dick, who more than likely will have issues with the fall out of Brion and Tara, and Tim is going to be dealing with whatever happens with his new little crew. 

Diana is a hard one as we don’t know her relationship with Cassie or Kaldur, so it’s up in the air, but Kal may take Diana’s role of leaving to find himself after the events in the story. And if Superboy doesn’t die, then he may step up for Clark in this case, or we’ll see other Super’s come into that role. Unless Conner is the one to lose all his powers. 

52, World War III, and One Year Later

Following in the wake of Infinite crisis there’s the story of 52 which covers the time span of the 52 weeks between the end of the Crisis and the start of the countdown for Final crisis. While I don’t think 52 and the companion piece One year Later, is going to feature in this season I do think that we may see it feature in the next building up to the idea of a Final crisis like story and eventually into another time skip. 

-52 worlds come out of the Infinite Crisis and Booster Gold learns about it with another time traveler Rip Hunter, oh and his robot friend goes evil. 

It’s unknown if Booster is going to show up in this season, but there have been rumors. However, if he doesn’t show up this story line could go to a number of different characters, including Traci 13, Impulse, Flash, or even one of our new characters. 

-Cult of Superman

While the story line regarding the Cult will probably drastically change, I do think that there are a few things that may come about from it. I think that it could be Zee working with Fate to deal with Neron, and Faust if he becomes involved. 

-The Everyman project that Lex creates, which leads to Steel and Natasha Irons playing a large role. 

This I can see happening in the wake of us losing members of the JL that depart for various reasons. Either because of the fight or they have to step down for some reason. I could easily see Lex using this in later seasons to grow his own mini power struggle with the Light and it would fit in with the idea of the Government wanting to regulate the Metahumans that are now showing up. Though I feel like this would be next season over this season. 

-Jason Todd taking over as Nightwing and Supergirl returns from the 31st Century. 

We already can assume a Red Hood story will come out of this recent revelation with Jason showing up, and we have Wally missing much like Supergirl was, and it’s not that hard to buy into the idea of Wally returning from the future feeling completely unsure of himself and talking about things that can happen due to what’s going down now. Jason, more than likely, could take over Dick’s costume and screw with stuff just because he can and probably feels a bit left out of things. 

-Donna Troy takes over as Wonder Woman and Arthur becomes the Dweller of the Depths. 

In the actual story there are reasons for both, but I think that Donna may take on the role if they have Wonder Woman kill Maxwell Lord. On the other hand I think Arthur may have saved Sub Diego during the two year jump and the reason we don’t have him is because he’s become this creature known as the dweller of the Depths. This would have lead Kal to becoming a leader while Mera acts as ruler underwater while Kal acts as leader in place of Arthur. 

-J’onn comes to a different conclusion about being a martian on earth after being mind linked to Black Adam. 

While I don’t see this coming into play during this season or during the time skip in the future, it may explain where M’ggan’s new look comes from. Maybe she’s changed to her new look due to some sort of event that plays with what happened to J’onn. While I don’t think that it will happen exactly as in the comic the precedence is there as an option for the two year time skip. 

Other aspects that could play into the story and season 4 as a possibly: the trinity step down from their roles, Aquaman allies himself with Dweller of the Depths and King shark, New Doom Patrol, Hawkman goes missing, Jason and Dick both are Nightwing, New Birds of Prey is formed, Oliver Queen becomes the Mayor of Star City, New crew of Teen Titans, Vandal Savage starts up plans to regain his immortality, New JSA, Bart becomes the Flash, Tim Drake tries to clone Superboy to bring Kon back....

Not all of this will happen, but a number of these seem like givens. 

Given how the UN is treating Meta humans, I can see the Trinity being forced out of their roles for a period of time. Kaldur may have to make deals to protect his friends if Apokolips is setting up for something dark and in doing so he may get in over his head. I can easily see Greg building up a new Doom Patrol in a one year later situation, and we don’t know where Hawkman is as of right now since he’s in the Rann shot. 

Babs forming the Birds as a means of dealing with the Light and the League would make sense, Oliver could step into role of Mayor allowing for Conner Hawke to come into YJ as the new Green Arrow, and we know that the younger crew of YJ is going to come more into play. We also know that Vandel is working with Darkseid and into whatever plan he has for the Anti life equation. Bart becoming Flash could be an option if Wally isn’t brought back till later, and I have no doubt that should Conner die M’ggan will more than likely try to pull off Tim’s clone game to bring him back. 

Would be interesting in lieu of Conner coming back we get Kara and have her show that there is more than just Superman. 

Countdown to Final Crisis

So now we have come to the part where things become interesting. Countdown to Final Crisis covers the events that were supposed to lead to Final Crisis, but some of it doesn’t go anywhere. So I’m just focusing on Darkseid in this case, and if any hints of other stories shows up later in the show I’ll point it out. 

-Darkseid is planing on being the Architect of the universe, and his brother Drax, aka Infinity man (who can be summoned by the Forever people) is killing the New gods. 

Given the images we have so far and what we’ve seen in the episodes, it seems that this could be something that could play out in some way. We know Darkseid is working on creating something, probably the Anti life equation. We have Forager who comes from this story showing up in the show so far. The thing is that in this case we know that the with Infinity Man killing off the New Gods this leads to events in Final Crisis. 

Honestly I can see some of this playing out here slightly. We do have the Forever People around and it would fit into the possibility that a New God is the one that is inside Halo. 

I think for the sake of lenght that I’m going to tackle Final Crisis as it’s own thing over going forward with this one as it’s already really long. 

See Final crisis theory of YJ for the rest. :) 

[aion-rsa]

Batman: Damned is a Trip Through the Darkest Parts of the DC Universe

https://ift.tt/300RRyt

Brian Azzarello tells us about the genesis of Batman: Damned, the dawn of DC's Black Label, and how that John Constantine team-up happened.

facebook

twitter

tumblr

When DC’s Black Label imprint was first announced, fans were promised that they would journey to the darkest edges of the DC Universe with some of the most brilliant creators as their guides. Batman: Damned, by Brian Azzarello and Lee Bermejo, kept that promise, delivering one of the most terrifying, challenging, and controversial DC projects in decades. With heart-stopping, fully-painted art by Bermejo, Batman: Damned is a horror mystery tale that sees Bruce Wayne trying to solve the murder of none other than the Joker. Batman enlists the aid of John Constantine (a character that Azzarello is very familiar with) to guide the Dark Knight through the mystical side of the DC Universe, where the Dark Knight must battle magic and demonic forces to solve his most horrific case. It was our pleasure to sit down with Mister Azzarello and discuss how Batman: Damned came to be. 

Take us to the genesis of Batman: Damned. How did it come about?

Joker did really well and caught DC off guard that it sold so many copies so quickly. They had nothing like it to follow it with. Will Dennis, who was the editor at the time, and Mark Doyle who was the Vertigo editor and Will’s assistant, they were talking about what we could do next. What makes this Joker book unique? It’s the characters but they look different and they behave a little differently. Why aren’t we doing more of this kind of stuff? So we were talking about it and it was called “Jokerverse.” That’s what we were calling it. It then morphed into Black Label because they wanted to bring in more stuff. 

Then Warner Bros. said, “No. No more R rated superheroes.” So it just got put on the backburner for a while. Then Jim Lee brought it back out when I was working on something. It was going to be this enormous crossover with Batman and Justice League Dark. I was such a square peg with the story I was telling. It was not fitting in the round hole. Lee Bermejo and I were talking about it and Jim Lee came to us and said, “Why don’t we launch Black Label with this?”

For those living in a Batcave, what’s the elevator pitch for Batman: Damned?

Joker is dead and Batman doesn’t know if he did it. It’s a horror story. It’s not a traditional story. It’s not a traditional Batman story. There’s way more elements of horror. The characters are the supernatural characters of the DC Universe, like John Constantine and Swamp Thing. The monsters.

I’m glad you brought that all up. It must be so much fun to write a Batman versus magic story. Batman is always in control, but with magic, he is out of his element. How does Batman deal with magic in Damned?

Very frustratingly. A lot of it he ignores. Some of this stuff... a character like Batman, if he can’t fit it in a box, he tends to just turn away from it. That’s the way we play it. 

What are some of your horror influences that may have colored Damned?

Oh, I don’t know. I don’t know if I have any. I tend to be more interested in the cosmic kind of horror. What we were trying to do with it, this was more 1970s Italian style horror, maybe. Ken Russell kind of stuff. It’s a bit more unsettling rather than monstrous. 

How did it feel to return to John Constantine and what were your goals for the character in Damned?

We needed someone who was in control. Why not use the guy who pretends he’s always in control, but he never really is? It was great to go back to that character, honestly. When we were doing it, Lee and I were both like, “Why hasn’t this happened before?” John Constantine works so well with a character like Batman, you know? It was great. 

read more: The Secrets of DC's New Superman/Batman Team

It was late in the game when we decided that John was going to be the narrator. That was a decision I made because during my run on Hellblazer, there was no narrator. That was intentional because I wanted John to be mysterious. John is the type of character that works best when you don’t know what’s in his head because he’s a con man. For 140 issues before I did it, the book was always narrated by him. I wanted to pull John back to what he was when he first appeared in Swamp Thing when Alan Moore first wrote him. That was my approach there. This time, it’s like, all right, I want to get in this guy’s head because I think he has a lot of interesting things to say and think. So, to be able to comment on what was going on, when he narrated he was not talking about himself, he was talking about Batman. 

Your Demon is note perfect yet very different. What appeals to you about this character and what role does he play in the book?

He’s an entertainer (laughs). That was one of those things where Lee and I were like, “Let’s update this character.” He’s a rhymer? Okay, he’s a rhymer so he’s going to be an MC. Let’s put him in nightclub. Let’s not make him look too demonic; let’s make him look like he’s maybe human. 

read more: The Batman Who Laughs and the Culmination of 10 Years of DC Stories

It was similar with what we did with Riddler in Joker where we sort of reinvent him by saying, “Okay, who is this guy? He’s very smart. He can figure out puzzles. He has a cane. Why does he have a cane? Well, let’s make one his legs shorter than the other.” It’s just approaching these characters with a real world destination in mind. 

This is one of a number of stunning collaborations with you and Lee Bermejo. Talk about Lee’s unique talents and how his style pushes you as a writer. I was stunned by the spread he did of Gotham City. It felt like you could fall in.

That spread you’re talking about? Originally, it was conceived of being full of reports of what the Joker was doing. Joker was going crazy all over the city, a sighting here, a sighting there. It was going to be very dense with text. I got that page and I was like, “I’m not going to ruin this page.” We just put one word on it. That’s how Lee communicates what needs to be communicated. I didn’t need to say something. We have a great relationship. I work most closely with him than any of my collaborators. 

Even Eduardo Risso?

Yeah, Eduardo is just like, “Give me the script and leave me alone.” 

Did Lee contribute story ideas? Because his We Are Robin was freakin’ awesome. 

We pretty much plotted it all together verbally before I wrote anything down. He was instrumental in the story. 

What keeps drawing you back to Batman?

I don’t think I’m ever going back again (laughs). Batman is, as long as you don’t mess with the core of him, Batman fits into different kinds of stories. I think he’s one of those characters where the circumstances around him can be updated all the time. Batman is not of an era. Superman for example, Superman is of an era. Truth, justice, and the American way is a very particular place in time. It doesn’t mean the same thing now as it did then. But the myth of Batman, it’s adaptable. It’s so primal that it’s not going to change.

In many ways, throughout Damned, you focus on Batman’s vulnerabilities. To you, what makes Batman vulnerable?

To me? To me what makes Batman vulnerable is hubris. That’s what makes him vulnerable, the fact that he thinks he’s the smartest guy in the room. Put him in a situation where the walls are constantly shifting, and the floor is falling and he can’t get his bearings. That’s what Damned is. By the end of this story, the whole thing hinges on his denial of the truth, of what he did. 

Talk about kicking off DC’s Black Label, the imprint that has now supplanted Vertigo?

I don’t think DC could have had a better launch than what it got with Damned. They might not like it, but everyone knew what Black Label was the next day. 

What does it feel like to be the creator that kicked off Black Label, kind of like Alan Moore and guys like Neil Gaiman kicked off Vertigo?

I haven’t even considered that. It’s some heady company to be in, if I’m in. I don’t think so, man. What’s really great is that it did well. I think that we proved that these types of stories can be told and they can be told to a really wide readership. Your book was selling better than the regular Batman title at twice the price point. I hope they see, like, there are readers for this type of material. I think they do. Look at the packaging they put the hardcover in. This book, the hardcover collection, it’s beautifully put together. It is not for kids. 

Now that the collection is out, how would you like Damned to be remembered as it becomes DC’s next evergreen Batman book in the vein of Killing Joke, Long Halloween, and Son of the Demon?

Oh, I don’t know. It’s so soon. I never think about that sort of stuff, the big picture. But the way this ends, it ties into some evergreen books. It was our way of creating some non-canon. 

Any hints and clues to what might be next for you and Lee at DC?

Lee and I don’t have a project at DC at the moment. I’m doing Birds of Prey. 

facebook

twitter

tumblr

Interview Marc Buxton

Sep 10, 2019

DC Entertainment

Batman

from Books https://ift.tt/2ZSpQwT

[gokinjeespot]

off the rack #1295

Monday, January 6, 2020

 I hope you're having a better start to the new year than I am. I figure I'm about 90% recovered from a cold that started with a sore throat New Year's Eve. There's still a little gunk in my lungs but my nose has stopped leaking and I have energy to do stuff now. The house has been undecorated and I am looking forward to things getting back to normal. With Christmas and New Year's falling on a Wednesday my routines were discombobulated even more than usual due to the holidays. I'm not a fan of holidays.

 I Can Sell You A Body #1 - Ryan Ferrier (writer) George Kambadais (art) Ryan Ferrier (letters). I believe that this is the first time that I have seen a letterer become a writer. This 4-issue mini stars ex-TV psychic Denny Little. He can communicate with the dead. He can also put the spirit of the dearly departed into another body for clients. Unfortunately, one of those clients is a violent criminal and Denny is having a hard time finding a body for the mobster's dead father. Ryan tried to make him come across as a lovable screw-up. I was not enamoured of Denny however. Maybe it's the man bun. What he does in desperation at the end of this issue made me like him even less. I'm ghosting this one.

 Detective Comics #1018 - Peter J. Tomasi (writer) Scott Godlewski (art) David Baron (colours) Rob Leigh (letters). It's a winter time mystery as Batman investigates a Christmas tree adorned with dead bodies. His usual suspects are incarcerated and a pagan clue points to a new killer on the loose. I like this title best when Batman is solving crimes so I look forward to him figuring this one out. The scenes at Wayne Manor sans Alfred made me sad.

 Thor #1 - Donny Cates (writer) Nic Klein (art) Matthew Wilson (colours) VC's Joe Sabino (letters). Jason Aaron's War of the Realms and King Thor brought to a close one era and this starts a new one for the God of Thunder. King Thor looks old as the story starts but Donny and Nic fix that at the end of this issue. There are a bunch of surprise guest stars here and if you're a fan on Donny Cates's other books you'll see a definite connection. Just when Thor thinks that he gets to sit on the throne of Asgard in peace he's off to save the universe yet again. This new story is going to be epic too.

 Lois Lane #7 - Greg Rucka (writer) Mike Perkins (art) Gabe Eltaeb (colours) Simon Bowland (letters). I didn't like that Lois's suspicions weren't aroused by the new maid. It made the cliffhanger ending fall flat for me.

 Web of the Black Widow #5 - Jody Houser (writer) Stephen Mooney (art) Triona Farrell (colours) VC's Cory Petit (letters). Mission accomplished. Natasha clears her name and the imposter is taken into custody. The lesson here is to never underestimate the Black Widow.

 Punisher Soviet #3 - Garth Ennis (writer) Jacen Burrows (pencils) Guillermo Ortego (inks) Nolan Woodard (colours) Rob Steen (letters). Now we know why the Russian guy is helping Frank kill the Russian mobster guy. It's a gruesome back story and goes to establish what motivates these characters. Garth is a master at this stuff.

 Daredevil #16 - Chip Zdarsky (writer) Jorge Fornes (art) Nolan Woodard (colours) VC's Clayton Cowles (letters). Wilson Fisk is one tough Kingpin. He survived being thrown out of a window and winds up in the hospital where he gets a surprise visit from Matt Murdock. Matt and Elektra know that it's the Stromwyn family that is their real enemy and they go after them financially. Meanwhile, Hammerhead is at war with the Owl for control of Hell's Kitchen. I love all the stuff going on in this book now.

 Action Comics #1018 - Brian Michael Bendis (writer) John Romita Jr. (pencils) Klaus Janson (inks) Brad Anderson (colours) Dave Sharpe (letters). This should have hit the racks before Superman #18 where the secret identity is smashed to smithereens. I did like the origin story for the super villain the Red Cloud. I am very disappointed with the art however. I used to love John Romita Jr.'s art but now it looks rushed and lacking in detail. I feel the same about Frank Miller, another artist that Klaus Janson inks. I don't blame Klaus though.

 Hawkeye: Freefall #1 - Matthew Rosenberg (writer) Otto Schmidt (art) VC's Joe Sabino (letters). This reminded me of Matt Fraction's run writing Clint's adventures and although the art wasn't very appealing to me I liked the attitude and the mystery. Someone is running around in the Ronin costume committing crimes and Clint's "friends" Falcon and Winter Soldier thinks it's him. I was surprised at how many other good guys wore that costume too. I want to find out who this new guy is. Like Action Comics, I'm going to keep reading this despite not liking the art much.

 Tarot #1 - Alan Davis (writer) Paul Renaud (art) Paul Mounts (colours) VC's Clayton Cowles (letters). Not to be confused with Jim Balent's Tarot: Witch of the Black Rose, this is an old school Marvel team-up story featuring the Avengers and the Defenders. It starts with Namor and the Invaders fighting a Nazi named Oberfuhrer Okkulte in WWII and continues to the seventies with the Defenders showing up at Avengers Mansion just in time to help the team deal with a rampaging Vision. The villain will be familiar to older Marvel fans. If you're feeling nostalgic for these old super teams then this is the story for you.

 Star Wars #1 - Charles Soule (writer) Jesus Saiz (art) Jesus Saiz & Arif Prianto (colours) VC's Clayton Cowles (letters). Here we go with a new number one. The writing is good and the art is nice but it would be nice to get a story with some new characters. This one starts with Leia, Luke, Lando et al escaping Darth Vader's clutches on Bespin. Dyed in the wool Star Wars fans will probably love these stories filling in what they know happens next but I've read enough of these characters not to care anymore. Everything is so familiar to me that I find it kind of boring. I'd rather be in another galaxy far, far away, so hasta la vista and may the Force be with you.

 Marauders #5 - Gerry Duggan (writer) Matteo Lolli & Lucas Werneck (art) Federico Blee (colours) VC's Cory Petit (letters). They were introduced in another X-book but the new enemies of the mutants are named in this issue. Wilhelmina Kensington, Manuel Enduque, Chen Zhao, Kade Kilgore, and Maximillian Frankenstein may just be children but they are kids with billions of dollars and money is power. Collectively they are known as Homines Verendi. I Googled it. It's Latin for "people feared". Their first plot may be to frame mutants for the mass death of humans by poisoning the new mutant drug that's helping everyone right now. These new X-books are intensifying my FOMO.

 Miles Morales: Spider-Man #14 - Saladin Ahmed (writer) Ray-Anthony Height (art cemetery scenes) Ze Carlos (art Brooklyn Academy scenes) Belen Ortega (art Home scenes) David Curiel (colours) VC's Cory Petit (letters). It's one thing to want your secret identity revealed voluntarily, it's quite another to have that secret found out by an enemy. Miles has a major problem now that his private journal has been found by a hostile person. I want to see how this pans out.

 Doctor Doom #4 - Christopher Cantwell (writer) Salvador Larroca (art) Guru-eFX (colours) VC's Cory Petit (letters). Victor is in New York City trying to find out who tried to kill him. Meanwhile there's a coup back in Latveria. I know Doc Doom will return to his homeland triumphantly but it's fun seeing how he gets there.

 Joker/Harley: Criminal Sanity #2 - Kami Garcia (writer) Mike Mayhew & Mico Suayan with Jason Badower (art) Richard Starkings of Comicraft (letters). I think the criteria for using the larger magazine size for DC Black Label stories should be the art. The art in this deserves the larger size. I really like this reimagining of the Joker and Harley Quinn. The abuse that this Joker suffered as a kid would warp anybody. I highly recommend this book.

 X-Men #4 - Jonathan Hickman (writer) Leinil Francis Yu (pencils) Gerry Alanguilan & Leinil Francis Yu (inks) Sunny Gho (colours) VC's Clayton Cowles (letters). The mutants are invited to the World Economic Forum and Charles/Professor X, Erik/Magneto and En Sabah Nur/Apocalypse accept and attend. It's a good thing they brought their own security team Cyclops and Gorgon (not the Inhuman). One human delegate had two strike teams ready to kill Charles again. Most of this issue is talking heads but the conversations are intense and enlightening. If you only read one X-book this should be it.

[tessatechaitea]

Team Titans #19

Team Titans is an anagram of Steam Taint.

I never learned the proper use of prepositions, or what they even are, because it's the most unlistenable to Schoolhouse Rock song. Hmm, that was more of a tweet than the opening line to (of?) a review of (for?) a comic book from (in?) 1994. But then again, it's also a good example of how my reviews work. A thought strikes me based on something I just read or wrote, I have six thoughts more as the pinball in my brain bounces off of several bumpers, until I finally get control of the ball by resting it on an upraised flipper. Then I aim the ball and shoot it up the "Schoolhouse Rock Song" ramp and score the jackpot. I'm left feeling satisfied while everybody who just walked in and missed all the bumper action that lit up the jackpot are left thinking, "What the fuck is this asshole talking about?" From now on, I'm only going to speak in pinball analogies. Or is the lesson actually, "Write more of your process, dumbie!"? Schoolhouse Rock also never did a song about punctuation inside and outside quotation marks so I'm never going to be any good that that shit either. Avengers: Endgame has a good example of how I just write stuff that makes me happy without explaining why I'm writing that stuff. Without actually spoiling anything, there's a scene where some Avengers go to pick up Thor at his house in New Asgard. Taika Waititi's alien character lives with him and he's playing Fortnite. He begins to complain that some guy named SlutBanger called him a dick or something. At that moment, being a huge fan of Liz Lemon's terrible ex-boyfriend Dennis Duffy whose Xbox username is SlutBanger on 30 Rock, I now can't not think of 30 Rock as part of the Marvel Cinematic Universe. So instead of going on Twitter and explaining my theory on how 30 Rock has been incorporated into the Marvel Cinematic Universe and providing the SlutBanger evidence, I simply began tweeting things based on the assumption that everybody now understands it to be true. I could probably benefit from making my process more transparent.

War Devil's secret identity is Ward Evil.

Getting around to the comic book, a Team Titans team called Spectrum have arrived from the future to return the central-to-the-plot Team Titans back to 2001. I hate them immediately. One of them is all, "You deserve answers! But let's start with introductions!" Then instead of introducing herself as a person would when they say something like, "Let's start with introductions," she tells Terra that she's Terra, and Prester Jon that he's Prester Jon. And then when Terry is all, "Wait a second! That's not how introductions are done! What's your name?", she's all, "I don't have a name — I'm a color!" Well how about I just call refer to you as Fuck Off, You Stupid Puke Green Piece of Shit? Not that Terry Long would ever say anything like that! He's a wuss! Remember an issue or two ago when he was crushed by a grandfather clock? Hilarious! Later, one of the Spectrum refers to one of the other Spectrum as "Green." So I think they indeed have names! Jerks.

I don't want to embarrass anybody who worked on this comic book but one of the creative team might be an idiot.

Spectrum have been traveling through time collecting all of the members of the Team Titans (that's like thousands and thousands of characters!). Now, to prove that they're not lying about working for the mysterious leader, they need to bring all of the Team Titans together. Hopefully these characters will be more creative than what the writers of Bloodlines came up with. Let's see, there's Carpet Boy, Lapidus, Wonder Boy, The Enforcer, Murder Master, and Hero X. So, um, nope. No more creative. All of the Titans from throughout time head off to battle Lazarium, Lord Chaos's spy who has become the DC Universe's version of Rupert Murdoch. He's kidnapped Killowat to steal some of his power so that he can time travel back to 2001 and take over Lord Chaos's throne. This whole Lazarium plot exemplifies why I can rarely identify with the bad guy (unless it's Lobo because I was also super cool and had long hair and looked hot in jeans and wanted to kill my entire species. Representation matters!). Lazarium's ambition has garnered him a life full of money and power. He could just build an evil lair and retire to play video games when he's not getting adult massages from in-house professionals. Instead, he's created this life so that he can accomplish some other stupid fucking thing that doesn't seem any better than the life he currently has. Why would he want to take over Lord Chaos's role in a future where everybody rebels against Lord Chaos? Who are these people who need to constantly introduce more drama into their lives? You're living the life, Lazarium! Take it fucking down a notch now and enjoy it! Lazarium explains his plans like a good villain while Battalion, Redwing, Donna, and a comatose Nightrider have been detained by the government. It's a good thing Prestor Jon and his nearly infinite new powers is coming to rescue them. Prestor Jon has spent every panel since he returned exclaiming how he needs to find his sister, Redwing. He loves her so much and he wants to make sure she's safe and he'd do anything for her and he'll destroy anybody who gets in his way! It's all been so touching and he's been so passionate and it's all been one big fucking batch of twaddle.

"Ew! Your ears and fingernails got pointy! Gross! Get away from me!"

Prestor Jon has an elastic body that's actually disgusting and he's over here judging Redwing's cute new affectations? Hell, even if he wasn't elastic, he'd be a hypocrite for finding Carrie gross now. He does realize he's a ginger in his new body, right?! I should apologize to people with red hair and fair complexions but right now I'm drunk with the power of judging people on superficial differences! Is this what it feels like to be an incel online?! "Oh, nobody will fuck me, hunh?! Well, I wouldn't fuck you! Even if I had the choice! Which I don't! It's right their in my embraced nomenclature: involuntary celibate! But that's beside the point! People who are good looking enough to get fucked are shallow garbage monsters! What must it feel like to be just the other side of totally disgusting?! If only I were marginally less repugnant than I am! But it's impossible! In this society, there's no way a 1 or a 2 can pretty themselves up to a slightly fuckable 3! And don't encourage me to fuck other 1s and 2s! Gross!" Hmm. Maybe I need to apologize to both incels and gingers now. Although my mocking incel rant was just encouragement! Don't accept being unfuckable! Do something about it! And that something isn't read a book about how you need to trick women into sleeping with you! That something is doing the best you can at cleaning up, dressing, acting like a civilized person, and just enjoying things you enjoy around other people. You also have to, in some way, prove that you're a responsible person who has something to offer. I once flirted with a woman all weekend at a party in some remote location without anything more than friendly banter. Then on the way home, the car I was driving home (a friend's girlfriend's car because she probably knew it was a deathtrap!) got a flat and we wound up stranded on 580 all night (because she had a spare in the car but no jack). In the morning, I got out of the car with the tire and flagged down a helpful man. His jack was the kind you slide under and the car was a low Camaro that it wouldn't fit under. The guy explained he had to get to work but since he was the only person to stop, I was all, "Please! We'll get this!" I then got my other friend there to lift one side of the front of the car as I lifted the other and we were able to get the jack under. I then preceded to change the tire in a few minutes and we were on our way. My friend said X (the woman I'd been flirting with!) didn't take her eyes off me the rest of the drive home. I dropped her off first and she practically forced her phone number on me. That's what impresses people you might want to impress: doing things that aren't meant to impress them. You just have to prove you're a capable human being who can get shit done when that shit needs getting done. She probably thought, "Look at the way he took control of the situation! Look at how he lifted up that car's front end and changed the tire so smoothly and quickly! I bet he fucks!" I mean, she was wrong. I was terrible at fucking then! Really, really terrible! But that's a story I don't want to talk about! Even though it's a really short story. Team Titans #19 Rating:: C-. It got boring again! The final page of this comic book has a TV Guide mock-up for DC Comics if they were shows. Here are the actors the editors at DC thought should be playing their characters in 1994: Aquaman: Keifer Sutherland Atom: Michael Madsen Blue Beetle: Jason Patric Nightshade: Madeline Stowe Batman: Brad Pitt or Cary Elwes or Peter Horton Joker: Aidan Quinn Lobo: Bill Paxton Guy Gardner: Christian Slater Ice: Meg Ryan Hal Jordan: Dennis Quaid Sinestro: Raul Julia Kilowog: John Goodman Ganthet: Paul Williams Kyle Rayner: Andrew Shue

[sequentialartconfidential]

Okay, so new year, new opportunities. I’m going to attempt to review the comics I buy each week again. I tried it for a while but I kept getting sidetracked so here we go again. I want to preface this by saying that I am not a professional reviewer/critic, all I can offer you is my opinion of the work. I typically buy anywhere from $30-50 worth of new comics weekly so I can’t review everything but if you have a suggestion for a book I should try I’m more than happy to check it out. I also have a tendency to stalk used book stores and comic conventions for old graphic novels and I am especially fond of the clearance bins at Half Price Books so I will share reviews of those as well. The main thing that I love about cheap graphic novels is that I can pick up things that I may never have taken a chance on otherwise due to price considerations. I have found a lot of great comics that way. I also want to preface these reviews by saying that I do write and draw comics of my own so some of my opinions may be skewered by that experience.

Week One: 1/3/2018

Books purchased:

Star Wars Issue 41 Kieron Gillen/Writer Salvador Larroca/Artist Marvel

Batman White Knight Issue 4 (of 8) Sean Murphy/Writer/Artist DC

Scales and Scoundrels Issue 5 Sebastian Girner/Writer Galaad/Artist Image

X-Men Grand Design Issue 2 Ed Piskor/Writer and Artist Marvel

Star Wars Forces of Destiny (Leia) One-Shot Elsa Charretier/Co-Writer and Artist Pierrick Colinet/Co-Writer IDW/Disney

Rat Queens Issue 7 Kurtis J. Wiebe/Writer Owen Gieni/Artist Image

Paper Girls Issue 19 Brian K. Vaughan/Writer Cliff Chiang/Artist Image

Rock Candy Mountain Issue 7 (of 8) Mountain Kyle Starks/Writer and Artist Image

Walking Dead Issue 175 (1 of 6 in the New World Order storyline) Robert Kirkman/Writer Charlie Adlard/Artist Image

 My Favorite Thing is Monsters Emil Ferris/Writer and Artist Fantagraphics

Let me begin by saying that I have not fully finished My Favorite Things is Monsters yet so I won’t be reviewing it just yet. I will say that it is phenomenally drawn and written. You want to keep reading but sometimes the drawings insist that you stop and admire them. I’ve stayed up late a few nights reading it and I’m still only a little over half way through. From all accounts this is just the first book as well so I hope they get the second volume out quick!

Star Wars issue 41 is a continuing storyline that, if I was hard pressed, I would have a hard time remembering and I just read the book yesterday.... I buy most of the Star Wars books and I really can’t say why other than I’m a huge Star Wars fan. The artwork is nice and it’s always fun seeing the original trilogy characters in action but the stories aren’t that exciting. I get the feeling that the powers that be (ether Disney or Marvel) don’t want to change or expand the characters much so they make the writers stick to bland adventures that will in no way change or expand the existing universe. Luke is always an unsteady Jedi wanna-be, whining and worrying, Han is the cavalier scoundrel who is quick with the schoolboy taunts of Leia to where one wonders why he doesn’t just pull her pigtails and get it over with, and Leia is the know-it-all badass who has to keep these two “assets” to the rebellion alive and on track. Chewbacca stands by idly and wonders what about his place in the universe...the Star Wars Universe....

 Buy if you love Star Wars and want to grumble about it, Pass if you do not.

 Batman White Knight Issue 4 (of 8) I’m enjoying this so far despite not being a big Batman fan. I am of the opinion that Batman is a jack booted thug with anger management issues wasting a fortune on playing cops and robbers while Gotham is filled with poor and desperate people. This book is playing up on that view of Batman. Even though I find Batman to be a poorly conceived character I do admit that he inspires some great stories. I know because I buy a lot of them despite not being overly fond of the character. If you haven’t checked this one out it is a doozy. Written by Sean Murphy (Wake, Tokyo Ghost, Punk Rock Jesus) is a great writer (and artist) and I’ve enjoyed his work in the past and that’s primarily why I gave this a shot (and he doesn’t disappoint). The main thrust of the series is that the Joker (or Jack Napier) has turned a new leaf and has become a “good guy”….or has he? He seems to be doing a lot of things right and is championing the poor and oppressed in Gotham. Batman of course doesn’t trust him, Commissioner Gordon doesn’t trust him either but is willing to listen, and Nightwing and Batgirl are somewhere in the middle. It will be interesting to see how this plays out.  I always like comics that hold my interest and keep me in suspense from issue to issue. I am always asking myself, “What happened in the last issue of this comic?” If I can’t answer that question then I know it’s probably not a good storyline or, perhaps, it’s one of those independent comics that take four months or more between issues. Tangent rant: have you noticed that creators are bringing out their own titles with haphazard release schedules so that they can work on mainstream books (Marvel/DC)? It’s a little infuriating. I know it’s the nature of the beast but it’s hard to wait so long between books.

 Buy! This is a good book despite the fact that it’s a Batman book :)

 Scales and Scoundrels Issue 5 I’m digging this comic, it’s like a Dungeons and Dragons adventure….literally. The main characters travel to a dungeon in search of treasure and there are dragons involved. The action even seems as though it is being created through a D&D campaign. DM, “You are in a boat on a mysterious sea and you are attacked by five boats of amphibious creatures with stone weapons, one appears to be a wizard. What do you do?” If this is how it’s being created I’m not mad at anyone for it. I like the storyline and the art is okay. The art is loose, cartoony, and very familiar as I’m seeing a lot of artists using this style as of late. If you have seen any art by Hamish Steele this is very similar. I’m not sure what the influence for this art is but it has become prevalent as of late. It would not be out of place on Cartoon Network or Cartoon Hangover. I know the critique to that kind of comment is always, “Well, can you do better?” Well, no, but that doesn’t mean that I can’t have an opinion. I’m not saying it’s bad, it’s perfectly passable and suits the book  well, all I’m saying is that it’s cartoony and sparse. The characters and their development are top notch so far though and it’s only issue 5 so who knows where it will go from here.

Buy! You may want to wait for the TPB at this point but it’s definitely a good read.

 X-Men Grand Design Issue 2 Ed Piskor is my homeboy. He may not know it but he is. I’ve been hyping this guy since I read Wizzywig back in the day. Lately, Ed has been chronicling the life and times of hip hop culture in his book Hip Hop Family Tree which is phenomenal. It’s about people and history and culture just as much as it’s about music so it’s enjoyable on many levels even if you don’t like hip hop. And that’s kind of what’s missing in X-Men Grand Design. Ed is a lifelong X-Men fanatic and has spoken about his passion for the franchise many times and his passion shows in these comics but , through no fault of his own, their story is not as interesting as the story of hip hop. I do admire the book for Ed’s unique and eye catching style. You can always spot an Ed Piskor book! I love that it’s loose and fun and that Ed still does everything on paper including his inking and lettering. His books have the feel of an underground/DIY comic but made by a professional. They’re old school and modern at the same time. Part of the problem may be that I’m not as big of a fan of the X-Men as Ed but partially to blame is the fact that the X-Men have a convoluted, and oftentimes eye rolling, history filled with coincidences, bad plotting, dues ex machina moments, and overwrought soap opera emotions (as a lot of comics with such a long history do to be fair). This is only the second book of course and he is nowhere near the groundbreaking Chris Claremont/David Byrne run yet so we have that to look forward to. The other problem is that Ed is having to untangle the history to tell it chronologically. Things that lazy writers threw in to correct an issue that happened many issues or even years before have to be put into the correct place in the timeline and that can make these stories even more confusing. I will keep buying these if only to look at Ed’s art but I’m anxious to get to a better era of the franchise soon. These early stories are somewhat hokey.

 Buy if you’re a fan of Ed Piskor or the X-Men Pass if your meh about either.

Star Wars Forces of Destiny (Leia) One-Shot This book was released by Disney so you can be sure that it is aimed at a younger demographic. They call it an “All-Ages Adventure” and the advert at the back of the book has a schedule for four more books, one for each week in January 2018. Next week will be Rey, then Hera (Who? Sorry, I haven’t watched Rebels yet), Ashoka & Padme, and then Rose & Page. All of these books are either written by or drawn by (or both) female artists and writers which is really cool.  I’m looking forward to the Rose & Paige book because, and I get the feeling that I’m alone for the most part here, I liked their story in the Last Jedi. This issue deals with Leia and is co-written and drawn by Elsa Charretier (co-writer Pierrick Colinet) who I am unfamiliar with but does an excellent job here. Her drawing style reminds me of Bruce Timm or Darwyn Cooke which is a high compliment coming from me because I am a big fan of both of those artists. As with those guys, Elsa has a style influenced by animation and it shows in the flow of her panels and her fluid action scenes. The story is set on Hoth and she makes Hoth look way more beautiful that it has any right to be. The character designs are loose but perfect and I could totally see this style being used in a Batman Adventures style Star Wars cartoon. The story takes place right before the Battle of Hoth (opening scene of Empire Strikes Back) and Leia leads Han and Hera (No idea) on a mission to find a part for the energy shield. It’s a simple premise but Leia has more character development here than in some of the comics Marvel has released. She knows she’s supposed to be in command and that people are looking to her for answers which puts considerable stress on her knowing that she has to make the right decisions and quick or she is going to lose people and maybe even the war. I liked this comic a lot. I especially liked the art and will seek out other books by Elsa Charretier. Yes, the story is simple and it doesn’t have any big surprises or cover a lot of new territory but it is meant for a younger audience and it is still a good story.

 Buy! Yeah, I’m saying buy this even if you skip the new Star Wars comic get this one. This one is at least fun to read.

 Rat Queens Issue 7 Have you ever had a book, or TV show, or movie that you absolutely loved and then, as it progressed, it lost it’s luster? Rat Queens has become that for me. I loved the early books filled with fantasy adventure, girl power and laughs but, after original artist Rob Upchurch left under a cloud of domestic abuse charges the book lost steam and has not recovered. This is not to say that the art has not been good because it has been spectacular since he left. Tess Fowler was a great replacement who they inexplicably replaced with Owen Gieni when the book was rebooted. I do like Gieni’s art but it made no sense to replace Fowler. Not only did she turn in great art month after month but she brought a female perspective to the art and the book. I imagine she would not have drawn the horrible creature that appears in this issue as Gieni did. It looks like a monster cut from the Spread comic. It has one foot and the big toe on that foot is a penis. Cleaver… mature…. aesthetically pleasing…..I wonder what female fans  thought of that? I don’t know, I just don’t think the comic is fun anymore. They seem to be going from one characters storyline to another  with no real development or insight added to them.  I hate to say this but, for me, the book has jumped the shark and will probably be leaving my pull list.

 Pass! I hope it gets better but I somehow doubt that it will. I have not enjoyed this book since before the reboot.

 Paper Girls Issue 19 I’ll preface this by saying that I really like Brian K. Vaughan’s writing. I loved Y: The Last Man, Ex Machina, Saga, Runaways, etc. For me, this has been the hardest book of his for me to like. I do like it but it took a while for me to get into it and I have no idea why. It may be that the writing is trying to be a little too clever but I don’t know if that’s it. The constant references to the eighties meant to remind us the girls are from the eighties can cause some eye rolling and the obligatory issue where every girl meets their future counterpart give this a Back to the Future vibe. But I like Back to the Future so why am I not as enchanted by this? It may be that I get frustrated when I don’t know what’s going on. This is probably why the book has grown on me as more is revealed. This is the kind of book that I like to read in TPB form as I can read a bunch of them at once and not get left hanging. The writing and the art are great on the book, Cliff Chiang draws beautifully, but it may take you a while to warm up to the book and characters. I say buy the early TPB’s and read them straight through and you’ll be ready to go once you reach this issue.

 Buy if you have all of the other issues, if not then buy the TPB’s first.

 Rock Candy Mountain Issue 7 (of 8) Oh I do love me some Kyle Starks! If you are not yet on the Kyle Starks bandwagon you better hop on now! This guy makes comics that are a non-stop action movie thrill ride that will knock you flat on your butt! I own just about everything he’s made. The Legend of Ricky Thunder, Sexcastle, Kill Them All, and now I’m eating up Rock Candy Mountain. This book is his longest yet and has a lot of things going for it that his previous books did not like spectacular color by Chris Scheizer (Who is himself a tremendous talent writing and drawing the excellent Crogan Adventures series). The other thing that this book has going for it is hoboes and lord knows I love hoboes. I have a keen interest in alternative cultures like hoboes, or beatniks, or Justin Bieber fans; what makes them tick, how did this group form, and why would anyone listen to that god awful music? I also grew up next to a railroad track and love trains and have jumped a few myself (only to drop off a few blocks later so I wouldn’t miss supper). I can understand the feeling of wanting to jump on a train and ride away from your troubles for a while. Ah wanderlust…. So add Kyle Stark to hobo culture and I’m buying that book, no questions asked. Thankfully, my faith in Kyle and hoboes was not ungrounded because this book is awesome. I don’t want to give too much away but this is an epic adventure with plenty of action scenes and great characters. I highly recommend this book. Kyle is another of those artists like Ed Piskor where you immediately recognize his style and there is no one else out there who does it quite the same way. I love his style but opinions may vary. The TPB of the first four issues is out and would be a good start if you’re interested.

 Buy! Buy! Buy! Get the TPB if you’re just starting out.

 Walking Dead Issue 175 Wow, 175 issues and I’ve read them all. Remember when I was talking earlier about loving something and then it gradually fades into apathy? The Walking Dead has become that for me, especially the television show. I would love to take this space talking about how much I hate the show now and how dumb the characters are but this isn’t about the show so I’m going to stick to the book (BTW I hated the All Out War storyline [and Neagan] in the book because it was meandering and poorly plotted and the show is the same way). Anyway, the book has had it’s good moments and it’s great moments, it’s bad moments and it’s excruciatingly bad moments and I think this storyline may fall into the former if it’s done right. Other than the annoying weirdo the group picked up I like where this is going. I have always wondered about other societies out in the world and the one the group has run into is especially intriguing. I’m not going to go into the plot, it’s the Walking Dead, so you know, zombies and stuff. If you have been reading The Walking Dead all along I think you may agree that this storyline is interesting. It may spell the end for the book eventually who knows? I do hope this turns out to be a good one as there hasn’t been a great arc in a while.

 Buy if you’re caught up to this issue or buy the large omnibus books to catch up if you’re not. If you watch the show you may still enjoy this but you’re going to be wondering why Eugene is with the group.

Thanks for reading, sorry if I bored you!

[totesmccoats]

9/20/17

Batman: the Red Death The first of the Dark Knights rises! In Earth -52, Batman hunts the Flash for his speed force. With the Bat-Family dead, Bruce wants to steal Barry’s powers so that he can protect the entire world, much less Gotham. After a long and, for Barry, torturous chase, Bruce succeeds in merging himself with the Speed Force, becoming Batman the Red Death. Shortly thereafter, he is approached by the Batman Who Laughs, who tells him that his world is destined to die, but he knows of one destined to live – they just have to take it.

Metal continues to be, well, metal as hell. Let’s start with the Red Death’s awesome name and better costume. He looks insane! And instead of lightning, he leaves a trail of bats as he runs like some kind of super-fast Dracula! Dude! This is extremely my shit! The first half of the issue is the stronger one, really setting up how scary the Dark Knights are even before their new powers. Earth -52 Batman is just as intelligent and prepared, but completely ruthless. The second half is weaker because, one: it feels like a retread of the first, and two: the Red Death railroads the Flash. No build-up, no tension, just a straight curb-stomping. At least it looks dope as hell.

Batman #31 KITE. MAN. HELL. YEAH. Kite Man gives Batman and the Riddler the location of Joker’s final remaining safehouse, but it’s on top of a tower filled with traps. Only way in is through the windows, and only way to get Riddler’s army through 73rd floor windows is with…kites. That’s it. That’s the issue. Kite Man’s coup de grace. Riddler also manages to give an actually rattled Joker a beat-down, but Kite Man finally gets his win. And in the next issue, Batman does the unspeakable.

Superman #31 Another Lois issue! On assignment by the Daily Planet to interview a cartel boss, Lois goes to Bolivia only to find that Deathstroke had gotten to him and his crew first. Inspired, Lois decides to instead track down and interview the most dangerous killer in the world, and, being Lois Lane, succeeds, but also attracts the attention of another group of killers. Give. Lois. Lane. Her. Own. Book! Seriously. These issues where we follow Lois on her investigations are some of the best in the series, and offer a perspective that no other superhero book really does. If this were just a Superman story, it would involve Clark flying around the world to stop Deathstroke from killing people; but Lois goes to watch him, to interview him, even. Almost every other protagonist in a superhero book does things to change the world in some way – usually by saving it; but Lois’ actions are motivated by observation, not participation. She usually does end up being a part of every story she covers, but her goal is always to let things play out around her rather than intervene herself. And while I think James Bonny understands and nails this perspective, if Lois should get her own series, I wish it would be written by someone with a journalism background whom could also capture journalistic language as opposed to the novelistic style writers usually make Lois write in.

Green Arrow #31 With Hal unconscious and floating in space, it’s up to Green Arrow alone to take down the Ninth Circle’s satellite and also the goon in the mech-suit protecting it. Not the easiest task when you also consider Ollie can’t breathe in space. Luckily, he’s recently made some friends who might be able to help. Like last issue, the finale drops the political overtones from earlier in the arc for pure explosive action, but is still satisfying as a conclusion to Ollie’s personal arc of rebuilding bridges with DC’s other heroes. Ollie still has to take down the satellite on his own, but at least now he has friends to help clean up the mess he makes in doing so. And this change really does show an evolution from the fallout of the last arc with the destruction of Seattle, where it all fell on top of Ollie and his small team, with no-one coming in to help. Meanwhile, Black Canary also completes her arc, taking out the underground men with a triumphant catharsis over her own abusive upbringing, helping others so they don’t suffer as she had. All and all, and ending that reestablishes hope for Green Arrow’s corner of the universe, even as he heads straight into Metal and it’s dark universe.

The Wild Storm #7 We’ve got an info-dump! IO’s Jacklyn King, their chief of analysis checks in at work and assigns her team to look into the Angela situation before Skywatch finds out about the stolen technology and sparks a war between the two most powerful agencies on and off Earth. Meanwhile, John Colt needs a quick rescue from an IO blacksite he broke into before he gets found out and killed, which would prevent him from giving the HALO team the aforementioned info-dump about what IO knows about Jacob Marlowe and machine telepathy. As Cole says in the issue, it’s a lot to take in. Thankfully, Ellis still writes some of the most electric dialogue in comics, and still manages to squeeze in a propulsive fight scene right before the info-dump to give us something to wind-down from. But even then, it’s one of those “here’s what we know they know we know they know” info-dumps – one of the worst kinds – and after reading it three times I’m still not sure if I’ve taken away everything I was supposed to from it.

Wonder Woman/Conan #1 As a child accompanying his father to council, Conan was awe-struck by a black-haired girl named Yanna. Years later, after becoming the Barbarian, Conan happens upon a gladiator match between three men and one black-haired woman who manages to beat them. She demands her freedom, but cannot overpower all of her slaver’s warriors and is taken back in chains. Conan, once again awe struck, goes to rescue her. So far, this is unfolding as a Conan story with Wonder Woman in it. While Conan is full Conan here, WW is amnesiac, forgetting everything including her name, remembering only that she has powers, and once had a golden lasso. And, for some reason, she also fashions a passable enough facsimile of her costume out of rags and mud. We get plenty of Conan being Conan in this issue, fighting bandits, looking for gold and wenches, and sneaking into places; I just wish we got more Wonder Woman. Hopefully next issue.

Generations: The Marvels Under (pre-Secret Empire #10) mysterious circumstances, Kamala Khan is sent back in time to when her hero, Carol Danvers, was still Ms. Marvel; and working on a failing women’s magazine spun out of the Daily Bugle. Kamala accidentally becomes an intern at the paper, and has to help Carol save the magazine, and the world, from an alien invasion. As she’s tended to do with crossover stories, Wilson seamlessly blends what could’ve been an interruption into a natural extension of her main Ms. Marvel story, turning this one shot into another part of Kamala’s growth from being Carol’s acolyte to a Ms. Marvel entirely her own. Working closer with Carol than she really has before allows Kamala to really nail what their differences in personality and heroic philosophy are, and how she can be true to who she is while still being the Ms. Marvel the world needs her to be. And Wilson also makes this arc into Kamala’s strategy for saving the magazine, by having her explain to Carol the sort of balance between fun and function that modern women want from their reading material. Villanelli and Herring’s art is a perfect match for the alternate history setting of this story too. My impression was that the issue looks almost like a 70’s manga, with Villanelli’s manga-inspired character designs and style and Herring’s coloring giving the book an aged patina. The whole aesthetic really gives the impression of something foreign but familiar that I really enjoyed, and also fit Kamala’s experience in the issue.

Spider-Men II #3 The origins of Miles Morales 616. Miles had taken a fall for the Rigoletto crime family, finding himself in Rikers; and Wilson Fisk gets himself thrown in to tell him he’ll be out sooner than expected. Morales helps defend Fisk while their both in their, starting a friendship that takes them to the top of the family. Honestly, not a great origin? Having our earliest introduction to this new minority character finding him already arrested for gang activity is pretty problematic, even considering he’s supposed to be a bad guy. But even besides that, it’s just an origin that we’ve seen before way too many times. And like in most things, Wilson Fisk completely steals the spotlight. And while there are are definite similarities in flirting style during a scene where Miles meets his future wife, this issue doesn’t do much to make the two Miles’ feel like doppelgangers, which was kind of supposed to be the conceit of the story. Really, more than anything, after reading this I want more young-Kingpin, and could care less about Miles-in-name-only.

Peter Parker: The Spectacular Spider-Man #4 Spidey, Teresa, and Torch manage to survive the Tinkerer’s assault in Kingpin’s penthouse, but find out they’ve been fighting a decoy the entire time. And they come home to more bad news: that JJJ is running with the Spider-Man aiding a traitor to SHIELD story he was leaked, meaning that Spidey and Teresa are also now on the lam! Luckily, there’s one place Peter can think of that nobody would think to look for them, but asking to crash on someone’s couch is a big ask before even a second date! This is probably the loosest issue of Spectacular so far, having enough slack for Spidey to do a tight-five of stand-up while on the run, but I honestly like it. Compared to where Amazing is right now, I enjoy having a Spider-Man series that is more loose and silly, even a little chill despite itself. Spidey’s stand-up sticks out from the issue like a sore thumb, but it’s fun page; and I really wouldn’t mind if the entire series continues the trend and leaves slack in the story for silly side stuff life it in the future.

Snotgirl #7 Lottie takes Caroline to Haters’ Brunch in an attempt to integrate her new friend with her old ones, but it doesn’t go that well. But later that night, Caroline’s brother Virgil convinces Lottie to invite her to a comic con party with the other girls, take her out of the city for a while on a road trip. Meanwhile, a slightly amnesiac Charlene wakes up from her coma to a waiting Sunny, and, under the advice of a mysterious stranger, begins to retrace her steps from New Years. What makes this such an interesting series is that, for all the exquisite detail the book gives us into each of these character’s inner lives and monologues, they never seem to be the details we need to solve the series’ main mysteries – mostly surrounding Caroline and now her brother. Instead, the issue is more concerned about Lottie’s continued attempts to impress Caroline by hiding how much she enjoys things like waiting in lines to get into fancy restaurants, and comic-con. But of course, it turns out that Caroline actually wants to go to the party after all, despite it being nerdy. Plus, showing us Lottie’s self-conscious side does do a great deal humanize her, keeping us on the love-hate relationship rollercoaster this book’s set up between us and the protagonist. It’s super interesting how the book divides our attention, really – because it wants us to care about Lottie, and gives us so much of her that we’re kind of forced to despite how terrible of a person she may be, but never lets us forget about this big mystery that Lottie barely even knows is something to be solved. It’s a really fun push-and-pull to play with/against, especially as you never know what the stakes of any given issue is gonna be.

Bitch Planet: Triple Feature #4 Another successful book of short stories from the Bitch Planet universe. Deschamps, Lee, and Olea’s “Life of a Sportsman” shows us a corner of the world we haven’t gotten to before, revealing the hyper toxic-masculinity of sports in this world, following the career of a megaton player who gets off better than OJ and Brock Turner combined. Sara Woolley’s “Bodymod” shows us the extremes that plastic surgery went to in Bitch Planet, making women into literal angels and mermaids who live in constant pain for their beauty. And Ayala and Gifford’s “To Be Free…” is a heist, where a ballerina is recruited to steal something of incredible value from a history museum in order to help the resistance. Unlike last issue, none of these stories feel like they’re repeating themselves or stepping on each-other’s toes. This issue also has some of the most distinctive art of these collections yet, further expanding the universe.

—

9/27/17

Marvel Legacy #1 One million years ago, Odin and Agimotto joined ancient versions of the Pheonix, Starbrand, Iron Fist, Ghost Rider, and Black Panther to lock a Celestial deep under the Earth. Today’s versions of those heroes begin having dreams of those events, not understanding what they mean in the context of a world removed from its status quo. Welcome to Marvel Rebirth, essentially. Secret Empire really messed things up for the Marvel Universe, and it’ll take another universe threatening cataclysm to shake things back into shape. Not gonna lie, the Avengers One Million BCE is badass, if archeologically bonkers, and I’m excited to see more of them. And I’m also all about the return of Marvel’s first family. And also Space Wakanda. But overall, this felt a lot like Rebirth #1 without the soul. Just a bunch of hints to future stories.

Generations: Spider-Man Bendis does what he does best and writes an issue where two people just sit and talk to each-other. Miles Morales wakes up in the past, at Empire College, where he runs into a young Peter Parker, who is about to have one of the worst nights of his life. But instead of seeing that story (again), we see what happens when Miles talking to an exhausted Peter after the action, and learn what it means to live as Spider-Man, and the person under the mask. When forced to tell a story in one issue, Bendis really can do wonders, even in his normally dialogue heavy style. At its core, this issue is one Spider-Man revealing to another that being Spider-Man is never easy, it’s always sacrifice, and it’s always personal. And that’s exactly the sort of thing the first needs to talk about to learn when he’s won, and the second needs to hear to learn that he’s doing a good job.

Black Panther #18 The Midnight Angels go on a mission to retrieve Asira as T’Challa and Shuri investigate a village whose people were stripped completely to the bone. Shuri recognizes this from a Wakandan legend involving the Originators, but further investigation points towards a different origin. A lighter issue than most of Black Panther, consisting almost entirely of two action scenes with a last act reveal. Really not much to review in this one; it’s mainly a set-up for a big Legacy rematch.

Wonder Woman #31 Well, it’s not a great sign when the first issue of your Wonder Woman run barely has Wonder Woman in it. Instead, most of this issue concerns a fight between Hercules and Darkseid’s daughter, Grail. Wonder Woman’s only job in the issue is to find out who won. Like, the set-up is interesting enough, but I pick up this series to read about Wonder Woman, not Young Darkseid.

The Flash #31 Flash tries to evacuate the city before Bloodwork can hurt anyone, but with his powers still causing destruction everywhere he goes, realizes he has to stop this problem at the source. But hearing Bloodwork’s motivation helps Barry realize that his negative powers may be feeding on the same impulses, and realizing that can help the hero and villain alike. The end of this arc masterfully threads the needle from moody black-suit hero to reformed opportunistic hero, without letting Barry off the hook for being a jerk to his friends and family. Barry understands why his negativity has been ruling him, and promises to take steps to fix that, the first one being accepting responsibility for his actions. This ain’t a clean-slate for better-Barry. It’s self improvement, and it’s work. And its great that Williamson isn’t ending this arc with everything hunky-dory. It ends with Barry on the first step to healing, himself and those he’s hurt.

Batgirl #15 Dick and Barbara try to get some info on the Red Queen out of Mad Hatter, but he’s not talking much while in critical condition, and the hospital might not be the safest place for them at the moment, anyway. And in the past, Robin and Batgirl go undercover at a high school party to investigate where the drugs are coming from, but only find a strange song. And Barbara begins work on Ainsley’s project, which involves nano-bots with an intriguing glitch. I’m still charmed by this book strictly on the basis of DickBabs. It’s like, the one ship in fiction I’m actually invested in, and this story is handling it so well! Honestly, all I’m asking for are more Robin and Batgirl adventures, cute awkward flirting and all!

Nightwing: The New Order #2 Finally, a superhero about fascism I can get behind! Ok, “finally” is a bit much considering that this is basically an X-Men mutant registration story with DC characters; but what makes it work, unlike, say, Secret Empire, is that it addresses fascism’s marriage with bigotry. This issue flat-out says that this started because people were afraid of their neighbors, of the “others” that creeped in until it seemed like they suddenly overwhelmed the “normals.” And it shows that Nightwing, in a state of panic, gave into the fear and slippery-sloped the world into fascism. The details are unrealistic, of course, but the broad strokes ring true. The story does have one of the big issues that most X-Men stories like this also share, which is that unlike skin-color or religion, a superpower could actually pose a bodily threat to other people, and like weapons, should have public oversight…but that’s one of those dissonant you’ve just kinda gotta accept as part of the genre. Also, Bat-MVP Alfred-fucking-Pennyworth, refusing to stand down to fascism, bringing a bat to a gunfight, and showing Dick how it’s done. Next issue hopefully begins the Nightwing apology/ass-kicking tour.

Saga #47 We catch up with The Will, whom has been kidnapped by the vengeful widow of one of the many many many people he’s killed, who is using a magic VCR to playback his memories to find someone close to him that she can kill, and make him watch. Sadly, for both of them really, she’s having more trouble finding someone close to The Will still alive. It has been a minute since Saga featured the universe’s most unfortunate bounty-hunter, but this issue more than makes up for it. Through the magic VCR we witness the childhood incident that turned him into a freelancer, and an early mission with The Stalk, before his kidnapper discovers a memory she can do something with. The developing rapport between the Will and his kidnapper is also golden. She’s trying way too hard to play the supervillain, prancing around and taunting, to break the Will, but he’s already too broken to care, and has nothing left to lose anyway. I really can’t wait to see how she eventually becomes his new sidekick or partner and the sorts of hijinks they’ll get into.

Crosswind #4 After a pleasurable, but confusing, night out with Cason’s fiance, June finally decides to try and call the man whose body she’s inhabiting by calling herself. Fortunately, Cason – in June’s body – picks up, and the two have a conversation about being each-other. And June needs the advice, as Case’s life is about to get very very dangerous. It’s really an accomplishment that this issue can have a body swap conversation – in a silent medium, remember – with characters that are rarely using their own names, and still have it be completely legible. Case and June just have such distinctive “voices” in syntax and diction and style, that they’re clear even coming out of the other’s mouth. Just from a writing perspective, that’s super impressive on Simone’s part. But it’s also the rare body-swap conversation where the characters aren’t complaining to the other about how hard their lives are, the opposite in fact. Each compliments the other for the good in each-other’s lives. Cason compliments June on her son and gentleness, while June tells Case how impressed she is by the respect everyone shows him. But they also tell the other to be careful and not mess their lives up before they can swap back. And the issue rounds off with each actually making steps to work on maintaining the other’s appearances, with June hiring some people to watch her back; while Case goes to a neighbor’s house to find out how to be more ladylike. The conflict in this book isn’t with each-other at all, it’s already present in their own lives, and the other just has to deal with a completely foreign situation. Also, Simone gets in a couple of good boner jokes! Always a plus. Lastly, Staggs is doing so much with these characters’ body language. Posture, reactions, how they hold phones or go to sleep tells us so much about every character completely wordlessly, and in the sort of fine detail that’s not easy to come by in most comics. This is a wonder on every level.

Comic Reviews for 9/20/17 and 9/27/17 9/20/17 Batman: the Red Death The first of the Dark Knights rises! In Earth -52, Batman hunts the Flash for his speed force.