#yeah she’s not like……..very interesting when removed from Aquaman?

[naughtygirl286]

Yes we went to see Aquaman and the Lost Kingdom (aka Aquaman 2) and yes of course there was collectable goodies which you can see here!

but yeah over the Holidays we went to see Aquaman and the final chapter of the DCEU also known as the "SnyderVerse" it is kinda sad to see it go I think because I enjoyed all the movies but this universe has met its Zero Hour (see what I did there? comic fans will get that reference) and the Universe will be remade anew.

Now as for the movie itself personally I thought it was great! Its really fun, exciting, there is some humor and also I believe a deeper message about protecting the environment, the importants of family, legacy, and taking care of your responsibilities and doing the right thing even when its hard. The story picks up some time after the first Aquaman maybe a year or so and we find Arthur in a bit of of a funk almost he is enjoying being "Aquaman" and he is also enjoying being a Husband and a father now as well but he is not enjoying being the King of Atlantis. and while this is going on Manta is actively looking for a way to get his revenge on Aquaman and finds an ancient lost Kingdom of Necrus which was removed from history and buried in the ice of Antarctica as well as the Black Trident with this new powerful and devastating weapon he can now get his revenge. because of this Aquaman must team up with Orm and the 2 go on a crazy adventure to find and defeat the now possesed Manta before he destroys the world by unleashing the evil of Necrus on the world.

Now like I said I thought the movie was great I really enjoyed it it has plenty of nice action and it is visually impressive!! the production design and all the creatures and under sea life and monsters and everything its just all wow! you want to pause it and just look at everything. like the The desert creatures when Aquaman goes to rescue Orm and the monstrous zombie like creatures from Necrus you just want to look at all the fine detail from a design stand point. but yeah the movie is impressive visually like if you thought the first one was something this one tops that with the worlds and locations that it creates and shows.

now I know people have complained about them teaming up Aquaman with Orm and heard some say that they are a second rate "Thor and Loki" to which I say so? I feel that Jason Momoa and Patrick Wilson play off each other very well were Patrick Wilson is the more serious one and Jason Momoa is more comedic I liked their pairing in this. It was good when they were opposite each other in the first movie but having them on the same team and having them kinda riffing on each other and trying to one up each other at times with some great banter made alot of there scenes together fun and interesting and the "Thor and Loki" comparison was noticed and Aquaman at one point in the third act when they are on the island hunting down Manta he calls Orm "Loki" which I thought was pretty funny. and not only that there is a second Marvel reference where the movie ending is kinda funny were it ends pretty much the same way as Iron Man did in 2008.

Now where things are ending I thought Jason Momoa was a great Aquaman he took a character that everyone thought was a joke and made it into something cool and one of the reasons I liked him as this character is he reminded me of the version of Aquaman from the Batman: the Brave and the Bold animated series I feel the 2 of them are very similar and the only thing I wanted from Jason Momoa's Aquaman was for him to say "Outrageous" that would have made me so happy but sadly it didn't happen. but I did think he was great for this character. Now as for his future many have said he'll be returning as Lobo in he New DCU and I think he would do a great job as "The Main Man" that is another character that would suit him but only time will tell.

As for Amber Heard people were saying that she was removed or her role was reduced to a couple of scenes which its not. She is in it quite a bit from what I seen, she is in the first of it and gets taken out by Manta and she is not in the middle of the movie but reappears in the 3rd act and is in it for the ending and all that I would say she was in for maybe 15-20mins? no more then 25mins tops I'd say. I thought she was good as Mera but I can't really say she is one of my favorite people I do think she is most likely more nutty then a bag of squirrels after what you see on that whole trial thing but you just have to separate the art from the artist so to speak her personal life should have nothing to do with the character she is playing.

but in the end like I said I thought the movie was great I enjoyed it and the people I went with seemed to like it too so that is it the focus has been taken off Earth-1 (the DCEU) and in true comic book fashion everything is being retconned and rebooted and a new universe is being created. but I did like this movie and if your curious then give it a watch. Also there is a mid credits scene that is related to something earlier in the movie.

[garthofshayeris]

Speaking of Mera, what IS her personality?

lmao this is the problem all the Aqualadies have, they tend to have all their interactions with their romantic interest and their personality takes a back seat.

Currently? Idk I feel like most people just write her as “confident and fighty!!” which is like…fine. She seems very Girlboss™️ and people love to point out she’s a Queen and she Can Kill You. To be fair, Arthur also didn’t have a very distinct personality for a while (at least not compared to his Edgelord era) so together they just feel very romantic and in love and I don’t think their lack of personality is noticeable when drama is constantly happening around them. You really do believe they’re in love regardless of the era.

It’s not much different than preboot, but Mera used to be really defined by her status as a wife and mother, so she would be whatever the story called for; weepy, romantic lead, nagging wife, jealous lover, etc. I think she’s consistently headstrong through the decades.

She’s Aquaman’s Confident and Capable Wife. It just becomes very obvious that it’s her main personality when Mera in a context where she is not Aquaman’s wife lol

[nightwingmyboi]

I'll always remember Devin Grayson as the woman who wrote Nightwing getting raped by a supervillain and then tried to pass it off as "wasn't rape, just nonconsensual"...which is LITERALLY THE DEFINITION OF RAPE, YOU HACK!

MSL: Male rape is a topic rarely touched on in comics. Why is it suited to bring it into Nightwing?

DEVIN GRAYSON: For the record, I’ve never used the word “rape,” I just said it was nonconsensual (I know, aren’t writers frustrating? *smiles*) [x]��

Yeah there is no other word for what happened in Nightwing #93 other than rape...I can’t imagine why she would say otherwise. She did technically apologize, but that was ten or so years later. So she eventually, finally did come out and just admit what everyone already knew, but she was still way too late to actually fix any of the damage she caused with how she completely mishandled things. I also don’t think her little apology begins to cover all the issues I have with her. 

Devin’s characterization of Dick is just so, so freaking twisted to me. Really, I don’t think there is a Nightwing writer I despise more than Devin Grayson. The interviews I’ve read from her give me the creeps:

DG: The way I think about him [Dick], he likes everyone, he’s sort of a contact junkie - just this incredibly physical (and attractive) person who lives wholly in the corporeal plane and responds with - processes things in - his body before his head or heart. I imagine that he can be hypnotized by a touch the way other people can be stopped dead in their tracks by the sight of money or the promise of true love. I think he likes kicking and kissing in almost equal measure - except kissing edges out ahead because you can do it for longer and it leads to nicer things. [x]

Yeah that’s fucking unsettling. This is Devin being gross and projecting her sexual fantasy’s onto Dick. And she very much invented this extreme view of Dick as obsessively physical. Pre-52 Dick was always written as a master strategist, an unparalleled leader, one of the best detectives in the world, outside of Devin’s writing. Her fantasy version of Dick doesn’t mesh with that...Dick wouldn’t be capable leader if he’s “thinking with his body” (whatever that means) all the time. He’s survived this long because he’s intelligent and logical. Frankly, Devin’s take on things doesn’t even make any freaking sense. But it gets worse: 

DDG: I’m writing a novel for WB right now that he’s in and I have one scene where Batman has to stop a fight before it gets out of control, and most of the people he can just yell or glare at, but with Dick, he just stands really close behind him and Dick freezes. That’s not supposed to be a sexual thing (though it is kinda hot! ::laughs::), it’s an understanding on Bruce’s part that his physical proximity will speak just as quickly and loudly to Dick as his voice, maybe even be processed faster.

What the actual fuck. You’ve probably guessed it based on how that little scenario played out. Devin ships Dick with Bruce. 

DG: And now think about being a very physical and naturally gregarious and loving person and growing up with someone like Bruce. Then add in the confusion about his status - a “ward” is something you stop being the minute you turn eighteen. Having already lost his parents and then hurling into adolescence at the speed he did...in my personal version of the story, he develops sexual desire and social anxiety about the future at the same time, and this leads to tremendous confusion, on his part, about his role in Bruce’s life. He can’t be a ward forever, in the back of his head he knows he won’t be Robin forever...what is he to this man who is at once his best friend and personal savior, personal god? “Son” is what they eventually settle on, but I think when Dick was in his late teens, the idea of “lover” must have run through his mind (which means, really, as we’ve already discussed, it ran through his body).

Wild that Dick is usually written as incredibly intelligent and emotionally cognizant (was able to puzzle out Damian’s complex motivations and needs when no one else in Damian’s life could for example) and yet Devin thinks he’s not able to sort out that he’s not supposed to make sexual advances towards his father. And by wild I mean stupid as fuck. And, just fyi, Devin goes with the version of events where Bruce took Dick in when he was eight years old! So he’s pretty fucking young when this is all happening! Just when you thought it couldn’t get more disgusting. 

Eventually, much later, Dick gets distracted by other relationships and is able to ease up enough on Bruce for Bruce to relax into his own comfort-level of kindness and affection again (once the threat of sexuality has been removed) and they carry on more or less unharmed. But the relationship remains incredibly powerful and intense for Dick, who ends up feeling apologetic, rejected, and confused on top of all the other issues we already know exist between the two of them. Dick responds to Bruce - or really I should say Batman, since that’s who his relationship is with - on every single level.

So, according to Devin, Dick views Bruce as his “personal god” and is incredibly submissive to and possessive of him. That’s why Devin’s writing is littered with scenes like this: 

Gotham Knights #17

Where Dick acts incredibly awkward and “apologetic” about dating Barbara, because of how he previously made sexual advances towards Bruce in Devin’s fantasy world. Also with Devin, Dick spends a lot of his time stuttering every time Bruce is in the room, even though he’s usually a smooth talker, very chatty, and that’s because of the supposed “intensity” of Bruce and Dick’s relationship. And then there are scenes like this: 

Gotham Knights #18

Where Dick uncharacteristically and disproportionately loses his cool at the slightest insinuation against Bruce and is reduced to an angry hot head. Dick has been noted to be incredibly level headed; he’s also famous for being a mediator among the hero community...this behavior is a complete departure from the way he would normally act under other writers. Dick’s also been one to level plenty of criticisms towards Bruce himself. This sudden personality change where Dick thinks Bruce can do no wrong, where no one can criticize Bruce in Dick’s presence without him absolutely blowing up, where he suddenly can’t control his emotions over the littlest things...it really exists primarily in Devin’s writing. It’s incredibly OOC behavior and it’s rooted in Devin’s sexual fantasies frankly. 

Devin’s writing is also where Dick, despite being incredibly dedicated and monogamous in all of his previous relationships, suddenly became a womanizer. Literally, everyone was written as wanting to get into Dick’s pants: Rose Wilson was reduced to a giddy teenager because of Dick, random women in the streets would comment on how cute Nightwing was, a mob boss’s daughter who was only 15 years old was obsessed with Dick and made advances, Dick had a one night stand with Huntress because she reminded him of Bruce, Bruce called Dick “Hunk Wonder,” Dick undressed in front of fucking Deathstroke (and there was a newspaper with “Richard Wilson” on it as a sly little wink towards the audience), psycho vigilante Tarantula is obsessed with Dick to the point of raping him, the list goes on. If you want more samplings of how freaking disgusting and sex-obsessed Devin was when it came to Dick, look no further than her gross Inheritance book, where she ships Dick with everyone from Green Arrow to Aquaman (here are some quotes if you’re a masochist). And since Dick “thinks with his body” or whatever, Devin’d write him as receptive (or very oblivious) when it comes to this attention. 

Gotham Knights #10

Nightwing (1996) #107

Another thing that made me extremely uncomfortable is how Devin would always have strangers and villains, especially older men--people who Dick very much did not know and wouldn’t appreciate being in his personal space--be all grabby with him. Please leave him alone. 

Nightwing and Huntress #2

There Dick is, “hypnotized” in place by Huntress’s touch. Kill me. It is also especially messed up that Devin suddenly turned Dick into some sexual, warm-blooded hot head at the same time as she decided to introduce him as Romani. 

Q: How could him being Romani be used to inform his characterization?

It reinforces his “otherness” where Bruce is concerned in what I think is a useful, interesting way...It also presents the opportunity for there to be a slight chip on his shoulder, which maybe speaks to his scrappiness. It also maybe gives him a slightly deeper way to relate to someone like Helena--someone who is white but other--and gives the people who love (or lust after) him a potential cultural excuse for feeling as bewitched as they sometimes do. I also just love the idea of Bruce occasionally calling him “hot blooded” just to mess with him, because Dick would of course deny being so in an extremely hot-blooded manner. [x]

Her feeding into the fetishizing of biracial individuals is just disgusting and wrong. If there’s a racist stereotype available Devin really goes out of her way to make sure she includes it in her writing huh. 

Gotham Knights #20

And Bruce being a racist jerk is not charming Devin, it’s terrible. Barbara used slurs also, and was very dismissive of Dick’s reaction to Bruce’s actions...that was also horrible. It’s awful that Dick’s own family would apparently treat him this way. Obviously, Dick isn’t the only one that Devin would write out of character. 

It’s all just so messed up to me, I can’t stand it. When I first read her comics, even when it wasn’t blatant like above, I would feel something subtly off...and once I read her interviews I can’t help but notice these horrible underlying insinuations in all of her work, in so many seemingly “innocent” scenes. There are a lot of big things she’s known for (her horrible treatment of Dick’s Romani heritage and his rape for example) but all these subtle, insidious little details that people don’t even really register...they are equally frustrating to me. Seeing sects of the fandom pick up these details (like, the idea that Dick doesn’t understand personal boundaries, the idea that he’s a hot head, the idea that he’s a womanizer, etc.) when I know a lot of it stems nearly solely from Devin’s crappy characterization and writing of Dick...it’s hard. 

Q: Further to that, if Dick is gay, what kind of guy is his type?

DG: ...Type isn’t as important as passion and opportunity. Because of his psycho-sexual makeup, the other key factor would be a sense that he means something to that other man, that his “surrender” is making that man happy, allowing him to bring pleasure to someone (as he was never allowed to do for Bruce). There’s also a sense, if I may be so bold, of needing to be “caught” and “held down” - this going back to the trauma of losing his parents...being strong and passionate and heroic and virile and loving with a woman is fantastic, he lives for that. But he lost both parents. There is also a part of him that longs to be pinned down and loved a little bit savagely and hurt just enough to reassure him that he’s alive. Man, I’m totally gonna get fired when this comes out....

Literally makes me want to barf. That is supposed to be a professional, official writer at DC. Could go on forever. 

[thecanadianowl]

Justice league Snydercut review

Wow talk about a long movie. Remember Mass Effect's 3 shit endings that were later improved (sorta) with DLCs. Well that is kinda how this movie is.

Before we start this, I just wanna say that I was very impartial throughout the whole snydercut movement. I wasn't part of it but I do see the good that they did in regards to some of their charities and with how the fandom itself has been painted in a negative light. So its good that they got what they have been demanding for quite some time. Snyder as director for me, I really am not the biggest fan of. His movies have some great cinematic moments that look amazing but the context around it is what muddles it for me.

Is it better than Whedon's JL? YES. To start I'll look at some of the things that I do like.

I do like how it was split into parts.  Gives it that miniseries/Comic book feel

Thank god they removed that stupid cringy flash landing on top of Diana's chest scene.

Darkseid looks good. I know some people have issues with it but I liked it. I mean looking at it first glance has me convinced its Darkseid. His voice isn't too bad either. Reminds me a bit of Injustice 2.

As much as I have issues with Darkseid being introduced so early I do like that he had a brief confrontation/glaredown with the League, foreshadowing a possible in person encounter and that the League needs to expand if they are going to fight against Darkseid.  

Steppenwolf's design has greatly improved and looks better than before.

Loved the scenes between Alfred and Diana.  Wish there was more of that.

I loved how the movie added Cyborg, Aquaman and Flash attempting to stop Superman from getting to Batman. I also liked how in this version,  Batman pleading to Clark's humanity telling him that world needs him and he needs to snap out of it.  Also bonus for taking out that scene of Batman on the ground groaning about how old he is getting.

Okay seeing Clark get the black suit and having the voiceovers of both his father's merge together works in terms of Clark's arc into becoming the person he was meant to be. Also like the use of Zimmerman's Ideal of Hope score wished they let it play out a little longer.  Probably my favourite moment in the film is where Superman just takes Steppenwolf's Axe like its nothing and freezes it.

Now to go into some of the more critical stuff that bugged me when watching.

For a movie that is 4 hours long, pacing issues were bound to happen. I think the first example of this can be found in the opening with the Superman scream wave (which started to get a bit hilarious when his screams could be heard every now and then) hitting all three mother boxes. they are shown individually reacting to it and it takes time, where it could have just showed them together or an compilation of each of the motherboxes waking up. I know it Snyder's thing but tone down on the slow mo. Like some instances its fine (like with bullet time or Flash's scenes) but other instances I'm just like alright I get it.

The scene involving Cyborg transferring money into that single mother's bank account. Is he gonna do this for all the people suffering just like her? or just for that one person? I mean if you can hack into the world monetary system, you can solve a lot of financial issues affecting  the majoirty and not just one person. Did I miss the scene but why did Cyborg go from helping one poor person, suggesting the potential good he can do to change the world for the better  to "Fuck the world". Seems a bit inconsistent in character. Especially since he knows who Diana is (from what he says)  and that Parademons are after the motherbox. Maybe her offering help, you should take it? idk Vic. Also the whole Auto defense system malfunction, would it not be better if this was established beforehand where we see Vic struggling to maintain his body's autonomy leading up to the Superman confrontation? Prior to that it seemed he had it under control and his biggest conflict throughout the movie seemed more to be with him coming to terms with his new body. With that being said, Cyborg's character here is much more interesting and better than it was originally. I can see why Ray Fisher is so pissed (well that and the abuse he faced).  I am glad this was improved and gave the character a lot more to do.

The movie still has the same issue as before in regards to the whole motherbox plot and how convenient it was that all three are located on earth. You would think that with the involvement of Darkseid/Steppenwolf that separating them to distinct locations across space would make it more difficult to collect them. I mean we know that the Green Lanterns exist (we saw one get chomped), you'd think that they or the guardians would take one and secure it on Oa. The pushback to this would be "well there was only one green lantern and he died, so how could they retrieve the box?" which begs my question, why send only one? I mean it has been established that Darkseid is a known conqueror of worlds, you'd think the Guardians would be smart enough to send more than one Lantern to aid Earth in their fight.  Did they not think it would be a good idea to have the corps be more involved/keep an eye on earth since it is the only planet that was able to repel Darkseid's forces?

Why is it that the best idea of security when it comes to humans is to bury it? Would it not be better in optics to look over it and know its location instead of dropping it somewhere on the off chance that someone might find it due to being  curious or the land changing/altering  making the box more easy to attain? A situation as dire/serious as this, you would think that the Amazons/Atlanteans would have been better prepped with armor/weapons for such an event. I mean you have the arrow of Artemis that shoots quite a distance to give Diana a message but not some kind of weapon that hurts/cripples Steppenwolf? Or better yet, how about the moment that the boxes started acting up after Superman's death, that Atlantis/Themiscarya would put aside any differences they had with one another and to the outside world to come together to secure the boxes?  How could Darkseid forget the name of the only planet that was able to force him to retreat? nor does he know that it harbors the anti life?

Did this movie break Aquaman's continuity? because from the dialogue between Mera and Arthur, its implied that Atlanna abandoned/left Arthur at Tom's doorsteps whereas in the movie,  we see Atlanna spend a couple of years with Tom and raising baby Arthur before she was forced to come back. You'd think Zack being a producer for the Aquaman  movie would have edited that line or made it more clear. Well that or James Wan F'ed up when making the movie.

"I've never seen a being as strong as Steppenwolf" Did Diana just forget Ares aka the god of war who killed the Greek Pantheon/Old gods and orchestrated the first World War? Hell from the looks of the flashback it seemed Ares (I'm assuming its Ares, if its Hades, my bad) was getting some good hits in on Darkseid, who is superior to Steppenwolf.  While we are on the topic of Diana, it's a bit odd that Snyder who  was a producer on WW84 where one of the biggest focuses on the movie that Patty Jenkins talked about was how Diana doesn't solve her problems with violence (even though her primary weapons in this movie are a sword and shield but okay. Then again New 52 hasn't done a good job in disproving that), yet in this movie we see her using her gauntlet smash to fucking kill the one remaining terorrist. Like sure you can argue that they were terrorists and deserve to die, but given how easy and quick it was for her to take out the previous guys, why do something that runs the risks of destroying the very building that you are in (with hostages). I mean from the look of the blast and how much debris fell from the building outside, and it was a miracle no one (but the terrorist) got hurt/killed.

Why did Steppenwolf  kidnap  them in the first place? Just use that mind extracting device you used on the Atlantean soldier to see if they know. Seems like a waste of time to collect them in one location only to interrogate them later.

Okay, I'm sorry but even in this cut I still don't like Miller's Barry Allen. He isn't as bad as he was in the theatrical cut but man does it stick out. When he is helping to escort the kidnapped civilians out, why doesn't he just grab them and transfer them to a safe distance? He even makes a comment about how slow they are going. Can I also just say how weird it is for Barry to take time saving Iris to caress her hair and look at her more creepily in slow mo? Like yeah its in slow mo but still I think your priority should be to get everyone to safety as quick as possible and check if anyone else could get hurt.  I will admit that Barry's speech as he is running so fast to reverse time at the end was really good. Tho the more I think about all the slow mo Flash scenes are good.

They still kept the "Let's use the mother box to bring back Superman plot". Why? This is a piece of tech that you don't fully understand how it works and you are going on the whims of someone you just met. Especially if they come back as a different person/mindset all together.  If Superman 's death was the reason that allowed for the Mother box to call to Steppenwolf/Darkseid, what the hell were they doing prior to Superman's arrival on earth? I mean we've seen how easy it was for Steppenwolf to attain the two boxes even if they were guarded, so why the wait ?. I get that Batman is going through an arc and trying to change from the person he was but how does go from "1% chance of absolute certainty" to "let's go on a whim and have faith" when it comes to resurrecting Superman? 

Its gonna be awkward as to how Clark will explain his sudden return from the grave around the same time Superman came back.

I was wondering when the Knightmare scene will play out. Jared leto's Joker isn't over with me, it seems way too try-hard to be edgy. Other than that yeah, not much I can say about it. Tho do we seriously need another iteration where Superman (or someone with Superman like powers) is evil?

I also love how nonchalant Bruce is about J'onn appearing in front him. However the revelation that J'onn was that army general all the time breaks so much of continuity (and just why now did you decide to show up and help and not idk the time Zod invaded and nearly  terraformed earth, HELL WHY TF DIDN'T SHOW UP TO HELP THE LEAGUE IF YOU KNEW ABOUT DARKSEID, I'M SORRY TO RAG ON BUT REALLY THIS CAMEO JUST OPENS UP SO MANY QUESTIONS, IT JUST SEEMS LIKE AN "PALPATINE WAS BEHIND THIS ALL ALONG" KIND OF THING ).

In terms of getting a sequel, I am not sure if WB is going to go through with it given that their current vision seems to be a different route than the one Snyder intended so who knows. Despite my criticisms I do believe this is Snyder's best DCEU film to date and probably one of his better films. You could tell that he put in a lot to make this. The movie itself does have issues mostly due to the plot surrounding the motherbox as well as pacing. I would say it's worth the watch at least once, though I think its best to watch it in doses rather than one sitting. Ultimately this is the version that we should have gotten and I can see why so many people who were supportive of Zack wanted or vouched for him to finish it. Regardless, I think the very least I am happy for Snyder. If you like Snyder's previous stuff, you will like this one, if you don't, your perception of the film won't change significantly other than some cool bits here and there.  

[totesmccoats]

  Batman and the Signal #1

After years of teasing and buildup, Duke Thomas finally has a suit and a codename. As the Signal, he protects Gotham during the day, when the Bats are all sleeping. Besides being the only non-nocturnal member of the Bat-family, he’s also the first with powers, albeit, powers he doesn’t quite understand. He can “read” light, and is able to reconstruct images of where it’s been and where it’s going. Essentially, he has the ability to rewind and fast-forward his perception.

His first assignment, given to him by Batman, is to investigate the recent spree of metahuman teenagers – like Duke – popping up in Gotham. But even with his training under Batman, there’s no guarantee he’ll even survive his first day.

Duke Thomas has always been a breath of fresh air to the recent Batman mythos. For one, he’s not a dark haired white guy. (I know Todd was blond at one point; and also wish that Damian was more often depicted as half-Asian, but he’s not.) He’s also been a bit of a perpetual outsider; someone a distance removed from the Bats and Robins. So it makes sense to give him an entire 12 hours to himself, to become his own type of hero. He’s also got his own crew, the former members of We Are Robin, whom he’s let into his superhero life. In one issue, he’s already showing how he’s doing things his own way.

On the art side of things, Hammer and Martin are showing us a side of Gotham we don’t often see; what it looks like during the day. But also, Duke takes them into the streets more than the rooftops. Being a daytime hero means more groundwork, and also running into more people as they go through their daily routines. Despite what we usually see of the city, during the day, Gotham can be surprisingly bright and spacious. And the modern style of the new Wayne-funded developments even give the city a few shades of Metropolis. The brightness continues through Duke’s costume, which takes the yellow highlights found in Batman and the Robin’s costumes, and makes it the primary color. Eventually, even his black chestpiece is replaced with a more reflective material, bouncing the light back rather than absorbing it.

Between the half dozen Batman books DC has running at any given time, it’s easy to feel overexposed by Gotham city. Turns out all you need to make it feel new again is let the sunshine in.

  Batman: White Knight #4

Jack continues with his plan to take over Gotham – nicely – announcing his run for city councilman; and turning his campaign launch into a PR stunt when he gets Batman and Gordon to interrupt and arrest him for no reason. Blackport is already overwhelmingly in favor of Jack, and the rest of Gotham is slowly turning. Even Gordon is convinced by Jack’s plan to use the Batman fund to instead fund a new team of super-cops; and Jack hopes that Gordon can convince Batgirl and Nightwing to turn as well.

Meanwhile, Neo-Joker leads the mind-controlled villains on a raid of Gotham PD headquarters to steal files and find a way for her to reawaken Joker. She also tells Mad Hatter how she came to meet, and fall for, the supervillain.

But, for my money, the most interesting development is that Harley senses that somewhere along the line, Jack legitimately turned his plan to get revenge on Batman and the GCPD into a way to save and improve Gotham. And if anyone would know, it would be her, the person who knows him best, and a professional psychologist. Maybe the Joker really is dead.

And, of course, Batman keeps playing right into Jack’s hands – almost causing a riot at his campaign launch, and pushing Gordon away by refusing to listen to a plan that could help them both. If Bruce still has a chance at saving his own hind, he’s letting it slip past him awfully quickly.

SGM is really out-doing himself with the art in this series too, and can switch things from the sweetness of Jack and Harley spending a night out together, to the brutality of this Batman’s ways of taking out criminals, and the pathos of Neo-Joker’s backstory. Plus, there’s a garage full of the GCPD’s idea of what their Batmobiles should be like, and if there’s one thing he goes all out on – it’s cars.

  Batman #38

Stop me if you’ve heard this one before, although, I can assure you you haven’t. One rich kid, two murdered parents, a butler, a desire for vengeance. But this isn’t Bruce Wayne. It’s Matthew, the son of a couple who worked on Wayne’s board. As Bruce, he assures Matthew that the person behind the murders will be caught, and that he’ll be taken care of. As Batman, he investigates. The first suspect is Zsasz. Shortly after this discovery, Zsasz’s parents are found dead in their home. But Zsasz didn’t do it. Then, another couple is killed.

Coming off the perfectly delightful Superfriends two-parter, King reminds us he can also write twisted noir Batman with this one-shot story that’s a twist, not just of the Batman origin story, but of all the twists on the Batman origin to come before it. It also plays into King’s larger arc of Bruce Wayne trying to heal past the trauma that’s defined him. Just because Matthew is very much like Bruce Wayne, and looks up to Bruce Wayne, does not make him Bruce Wayne, nor any of the Robins or other heroes with similar backstories. Sometimes, tragedy doesn’t result in heroes.

And, despite the darkness of this issue in particular, King still finds places to inject humor. The clues Batman ends up following to solve the mystery, down to his final deduction, could’ve come straight from the Adam West show – just add blood.

  Justice League #36

Following the opening of a congressional investigation into the Justice League, the chairwoman leading the investigation is assassinated by a Batman doppelganger. The next day, the public pressure from the investigation and assassination, as well as personal agendas not lining up with the team’s charter, further increases fissures in team cohesion as they try to prevent another international incident involving a nuclear sub in Chinese waters.

I can’t remember the last comic book to make me so stressed. If Priest succeeds in one thing this issue, it’s selling how stressed everyone in the League is at the moment. Aquaman’s balancing being part of the League with being the King of his people; Wonder Woman is starting to think that Batman’s rules are interfering with her mission of peace; Superman’s being called to testify at congressional hearings; Simon feels that the League’s charter is preventing him from saving lives; and Batman’s gotta somehow heard all these cats while also dealing with a doppleganger using his example to kill people. It’s a lot to deal with, and adding to all of it, the public ain’t the biggest fan of vigilantism right now.

I’m also really enjoying Wood’s art on this series. It’s bold and colorful, unabashedly heroic, almost to prove by aesthetics alone how necessary the League is in spite of the public’s doubts. On the other hand, he perfectly captures the stress in every heroes face as they deal with each-other and other mounting stressors. They’re larger than life, but also relatably human – a very fine line that he nonetheless walks.

  Green Arrow #38

Another Ferreyra illustrated issue, hell yeah! I don’t think I get this excited over any other artist. He kills it every issue he’s on. This one included. From Dinah kneeing Ollie in the balls, to a sunset on the beach, to an underground fight; he does it all with style and personality.

After Dinah and Henry rescue Ollie from the trench in the Pacific ocean Moira abandoned him in, Ollie has to make things up to Dinah for almost getting himself killed in the pursuit of money. Meanwhile, Moira resurfaces and reconnects with Malcolm Merlyn, and together, hope to pay back her debt to the Ninth Circle. Unfortunately for them, they’ve decided they’re already settled.

How else could this issue end but a three way fight between team Arrow, Moira and Malcolm, and the assassin the Ninth Circle sent to collect their debt? Well, many ways; but none as satisfying.

  Black Bolt #9

Black Bolt and Blinky visit Titania to tell her that her husband is dead. And then the three of them hold a funeral for Crusher Creel. It starts with a toast at his local watering hole, and ends with a visit from Captain America and Odinson, who come to pay their respects to a worthy adversary who died a hero’s death.

This issue got to me. I’m no bastion of emotional fortitude or nothing, but, because of everything leading up to this, this death meant something, and Crusher’s funeral means something too. Within the pages of this story, Crusher found love and redemption. That his funeral drew heroes and villains alike says that his life mattered because in the end, he chose to give his own for someone else’s. It’s a simple story, but a powerful one. We’re all loved. We all matter. No matter where we come from, we can all choose to be heroic. And that will matter too.

  Hawkeye #14

Kate remains captured by Eden, who gives her a moment with her mother to convince her to turn her back on Clint.

Meanwhile, Clint and Kate’s friends make a plan to find where Eden took Kate, and save her. The plan Clint comes up with after finding out where Eden and Kate are? Kidnap Madame Masque, who’s still in a Kate clone body, and pull the ol’ switcharoo on Eden. Like most of Clint’s plans, he hasn’t thought this one entirely through.

This is mainly a Clint issue, and it’s great how Thompson continues the tradition of writing Clint as an almost utter fuckup, but importantly, a likable fuckup who always tries his best.

  Rise of the Black Panther #1

This series, which serves as a retelling of T’Challa’s origins and early years as Black Panther, has two Black Panther’s in it, neither of whom are T’Challa. The book begins with his grandfather Azzuri meeting Captain America and the two working together to defend Wakanda from Hydra; then follows the reign of T’Chaka, as told by his first wife, and T’Challa’s mother, N’Yami. Together, the story tells of two kings who broke tradition for the betterment of Wakanda. Azzuri gave vibranium to an outsider so that he could use it to save the world; and T’Chaka made a common woman his Queen, and gave her the resources she needed to study vibranium and develop new technologies from it. But, it is also a story of Wakanda being pulled onto the world stage as it is attacked by outsiders for the first time. Wakanda is able to repel them, but always at a cost.

This first issue does a great job at establishing the legacy that T’Challa inherits from his forefathers; a legacy of a recently unified country just beginning to expand past its history of secrecy. It presents T’Challa inheriting a country at the height of its power, but also, at its most vulnerable. It also establishes that whatever T’Challa does, he’s following in the footsteps of imperfect men. This issue ends with the stakes being that T’Challa has to be a Black Panther unlike any Wakanda has ever known. The next ones will have to tell us how he begins to become that.

  Paper Girls #19

The Girls, and Chris, decide to find old!Tiff before she gets smushed by the giant robots, and when we meet old!Tiff, she has a run in of her own with some future-folk. And through the whole issue, including the Girls and Chris finding old!Tiff and going to a church for safety, Mac doth protest KJ’s lesbianism way too much, to the point where her edginess begins irking the other characters.

Like pretty much every issue this arc, this one moves quickly, ending almost before you know it. And, a lot of this issue is characters playing catch-up with one another as they go over that Tiff is married to Chris, Tiff can see the fighting robots, and time-war. Like, it makes sense in-universe that the characters have to re-explain everything to the people who weren’t there for the initial exposition, but being that we the audience presumably know most of this, it stalls the issue and the overall story a bit too much.

Crosswind #6

Cason and Juniper finally meet in Seattle and prepare to defend themselves and each-other’s friends and families from the gang coming to kill them all.

Like all great finales, this is an issue full of self-actualization and beautiful bloody coups de grace, mostly from June, who finally stands up to her whimpering douchebag husband. Cason also actualizes, deciding what he wants to do with the rest of his life, being that he can’t go back after today. By the end of the issue, Simone manages to bring all of her characters to satisfying places, while still giving them some room for inferred growth.

Staggs, meanwhile, gets to finally deliver on the action and blood front, and even draws a poignant send off for her recently departed dog.

The final panel of this issue promises more Crosswind, but with such a satisfying ending, I have to hope the series continues as an anthology, showing us another incredibly freaky-friday.

Comic Reviews 1/3/18 Batman and the Signal #1 After years of teasing and buildup, Duke Thomas finally has a suit and a codename.