An All-Star Batman: My Own Worst Enemy Review – Road Trip!

TITLE: All-Star Batman, Vol. 1: My Own Worst Enemy
AUTHOR: Scott Snyder
PENCILLERS: John Romita Jr, Declan Shalvey
COLLECTS: All-Star Batman #15
FORMAT: Hardcover
PUBLISHER: DC Comics
PRICE: $24.99
RELEASED: April 19, 2017

By Rob Siebert
Editor, Fanboy Wonder

Let’s get the usual Scott Snyder spiel out of the way early. I like Snyder’s Batman stuff. He’s one of the best writers to pen the Dark Knight’s adventures in the last decade. But he does so many little things that are just infuriating. As such, otherwise brilliant stories become tainted so needlessly. Sadly, All-Star Batman, Vol. 1: My Own Worst Enemy is no  exception.

The dark side of Harvey Dent, a.k.a. Two-Face, is gradually taking over his twisted psyche. Harvey enlists Batman’s help to take him across the country and eliminate his dual identity once and for all. But Two-Face counters by blackmailing everyone in Gotham City. If Batman isn’t stopped, he’ll release every dirty secret he has. What’s more, the person that brings Batman down gets a fortune in untraceable cash. Batman, and his new apprentice Duke Thomas, are about to be hit from all sides.

Snyder’s premise is tremendous. The great thing about doing this kind of chase story with Batman is the near limitless amount of enemies you can bring in. In My Own Worst Enemy we see Killer Moth, Firefly, Black Spider, and Gentlemen Ghost. And that’s just the first issue. Of course, we also go higher up on the food chain with baddies like Killer Croc and the Court of Owls.

Snyder, John Romita Jr., and the team are clearly having fun with these action sequences. The opening scene with Batman, Firefly, and Killer Moth in the diner has some blaring flaws (more on those later). But the two-page spread on the left packs a hell of a punch.  The book as a whole has some of the most intense and energetic work Romita has done in quite some time. Certainly since he’s come to DC. We later get a sequence on top of a train, which leads to a gorgeous fight in a river between Batman and Two-Face. I also loved the fight with KGBeast in issue #3, which is so bloody it’s actually reminiscent Romita’s work in Kick-Ass.

As such, it makes sense that All-Star Batman and Kick-Ass had the same colorist: Dean White. As the blood continues to spill, the panels start to take on rusty colors, similar to what we see in the climax of the original Kick-Ass. What’s more, White’s touch makes some of the outdoor sequences really pop. That’s especially the case in issue #2, with the greens, browns, and blues. Though if I may say, Killer Croc might be a bit too bright. He’s Killer Croc, not Kermit the Frog.

What Snyder really nails in this book is the twisted psychology of Two-Face. The emphasis on secrets hammers home the point that everyone has a certain duality and dark side to their personality. A side which, if you believe Two-Face represents who they truly are. Snyder even takes us into the mechanics of Harvey and Two-Face. The two personalities can keep secrets from one another, influence each other’s behavior, etc. You get the sense these are aspects of the Two-Face character that Snyder has wanted to explore for awhile, but hasn’t had the chance. Details like this help to make My Own Worst Enemy one of the more compelling Two-Face stories in recent memory.

That’s why it’s all the more frustrating when Snyder sprinkles in moments that seem tremendously out of character for Batman. The most notable ones occur during fight sequences in the first two issues. In the aforementioned diner scene, Batman says: “Hey. All of you in this diner. Look at me. Not them. Look at my face. No one is dying today.” He then winks at them (shown right). On the next page, he makes a crack about the life cycle of a moth before stabbing Killer Moth through the hand.

Later, during he train sequence in issue #2, Batman says to Killer Croc: “Hey Waylon. Appaloosa called…they want their fool back.”

Let’s not kid ourselves. Batman is a silly character. Silly, and versatile enough to be both dark and brooding, yet somehow funny in the same issue. That being said, lines like this are just bad. And they’re so out of character for the Dark Knight that they leave a bad taste in your mouth for the rest of the story. As good as Snyder is, and as fun as these action sequences are otherwise, this is a Batman story, not a Lethal Weapon movie.

As our story continues, we see that even Batman isn’t immune to Two-Face’s little secrets scheme, as Jim Gordon and the GCPD are about to walk into the Batcave. Snyder somewhat blurs the lines as far as what Gordon does or doesn’t know about Bruce Wayne and Batman. In the middle of issue #5, as the cops are about to break into the cave, Gordon pulls Alfred aside. He tells him to “I don’t know what’s true, you hear me? I never have. … Call him and get him to do whatever he has to do to turn this back. You tell him he has one chance.”

This is somewhat reminiscent of what we got toward the end of “No Man’s Land” almost 20 years ago. Only in that story, we had a little hint of doubt that maybe Gordon did know the truth. In this story, it’s the reverse. We’re literally standing in Wayne Manor as everything is about to be revealed, and we get a hint that maybe Gordon doesn’t know. Frankly, that’s not nearly as effective as what happened in “No Man’s Land.” Here, it’s fairly obvious that Gordon knows. And if he doesn’t, then he’s a complete moron.

Snyder did something similar with the Joker back in “Zero Year.” He and Greg Capullo made it pretty clear that the Red Hood One character was the guy that becomes the Joker. But then he threw in a twist that cast doubt over the whole thing. With both the Joker and Jim Gordon, it’s pretty obvious what Snyder wants to do. But for some reason, he doesn’t fully pull the trigger on it.

This first volume of All-Star Batman also collects “The Cursed Wheel,” which is comprised of back-up stories from the first four issues by Snyder, penciller/inker Declan Shalvey, and colorist Jordie Bellaire. The story is fine for the most part. It centers around Batman training Duke Thomas to be…whatever he’s going to be. There’s an argument to be made that Shalvey’s art is actually superior to Romita’s. It’s crisp, it’s clean, and it’s beautifully complimented by Bellaire.

Snyder sprinkles a little Joker dust on things by showing us Duke’s parents, who’ve been driven insane and in effect “Jokerized” after the events of “Endgame.” In issue #4, Duke poses the theory that the Joker is not pure evil. He simply attacks what he loves, and his serum prompts it’s victims to do the same. The idea isn’t explored much, but it’s a tremendous character insight.

On the flip side, you have the concept of the Cursed Wheel. It’s meant to be a condensed version of all the training Bruce did to become Batman. Each portion/color represents a different part of the human psyche. This could have been really interesting. But they got a little too cute with it. What spoiled it for me was this…

“Look at the colors. You see hints of them in the colors of your allies. Dick leans blue. Damian, green. Barbara, purple. It’s a secret history that unites them, connects them and differentiates them.”

So the colors that Nightwing, Batgirl, Robin, and other characters wear isn’t a simple color choice? Rather, it has some kind of deep-rooted psychological attachment to this wheel? So what about when Nightwing was wearing red? Or when Batgirl’s costume wasn’t purple? Hell, what about the other colors Robin wears? Furthermore, what traits to these different colors represent, exactly? Simply put, I don’t get it. The idea isn’t fleshed out enough, and the color coding is a little too silly for me. Sometimes a blue shirt is just a blue shirt.

The one word I would use to describe My Own Worst Enemy is “consistent.” Like Snyder’s work on Batman, we’ve got some really big and creative ideas here. It’s just that the bad ideas tend to flop as spectacularly as the good ones soar.

Follow Primary Ignition on Twitter, or at Facebook.com/PrimaryIgnition.

Advertisements

Braun Strowman Breaks the Ring! Plus Ponderings From WWE Raw

By Rob Siebert
Editor, Fanboy Wonder

Wrestling’s newest dominant monster, Braun Strowman, was all over Raw on Monday. After last week, it’s not hard to see why. His big attack on Roman Reigns was one of the best angles they’ve done in a long time. For certain Reigns fans it was downright horrifying. But for some of us it seemed downright cathartic. WWE seems to know that, and are actually playing into it. They seem to be using the fans’ hatred of Reigns, the so-called babyface, to get them to cheer Strowman, the supposed heel. By traditional wrestling logic, it’s about as backwards as you can get. But I’d be lying if I said it wasn’t fun to watch Strowman beat on people.

In the broad sense, there isn’t much about Strowman that makes him villainous. He’s a big, tough bastard who wants to fight everyone. In the context of a wrestling show that’s a pretty admirable quality. Yes, he absolutely destroyed Roman Reigns. But think about the stuff we used to see Steve Austin do to Vince McMahon and a lot of the other heels. One of the more famous moments in Raw history involves Austin abducting McMahon and holding him hostage with what we think is a gun (later revealed to be a toy). He only let him go after McMahon wet his pants in the middle of the ring.

It’s amazing what you can get away with doing to someone the fans hate. We’re being reminded of that with now with Strowman.

Ponderings From Raw:

After Kurt Angle tells Strowman he has a match with Roman Reigns at Payback, Strowman attacks numerous wrestlers in the locker room. The best of these backstage segments involved Strowman beating up Kalisto and then dropping him a dumpster. This poor guy has become WWE’s resident whipping boy. On Smackdown it was basically his job to get beat up by Dolph Ziggler. Now in his first week on Raw, he’s getting thrown in the trash by Strowman. He desperately needs to hide on 205 Live for awhile.

Booker T steps in for David Otunga at the announce table. Otunga’s start on Raw has been delayed, as he’s off shooting a movie. Can’t we just make Booker the full-time announcer? He’s got more personality than Otunga ever will, and he’s got decades of experience to draw from. He’s already doing the pre-shows, isn’t he? Why not just shift him on to the main broadcast?

Samoa Joe vs. Chris Jericho via submission. Rollins was on commentary for this match. So often, the babyfaces are so vanilla when they sit at the announce desk. I usually find myself wishing they’d be a little more charismatic, and make us actually like hearing them. Instead, this felt like the usual fluff. Nice post-match promo by Joe, though.

Luke Gallows and Karl Anderson def. Enzo and Cass. No interest in this one from me. We’ve seen these teams wrestle a thousand times. I zipped right through it.

Dean Ambrose appears on Miz TV. It feels like we’re beating a dead horse here. Miz and Ambrose just feuded on Smackdown a few months ago. They did fine, but it’s not like we’re dying to see them go again.

They made a point to have Miz call Ambrose lazy and complacent in this segment. This is at least the second time they’ve done that since Steve Austin called him out last year for allegedly resting on his laurels. Why go there again? Can’t they come up with anything better for Miz to say? Hell, I’d have brought up his marriage to Renee Young before I went this route. They talked about it on their web site. Why not here?

TJ Perkins def. Jack Gallagher. Now that he’s a heel, Perkins needs a new entrance. That video game stuff is strictly babyface material. He seems to be having fun being a bad guy, though. It’s funny how much heat he got just from dabbing.

Alexa Bliss def. Sasha Banks, Mickie James, and Nia Jax to become the top contender for the Raw Women’s Title at Payback. Sasha did another one of her dives through the ropes during this match. I always hold my breath when she does that. It looked like she caught her leg on the rope, and went back-first into Mickie and Nia.

Saw a decent amount of buzz about Sasha vs. Alexa during this match. Not sure what would be so awesome about that program in particular. But I’m down for it.

Last week, Nia Jax caught heat online for dropping Charlotte Flair on her head during their match. Thus, she’s going to be scrutinized even more. To an extent it’s unfair to her, as she was thrust into the spotlight despite her inexperience. What’s she supposed to do? Turn down a prominent spot on Raw? But on the other hand, she’s in a spot that so many more seasoned wrestlers would kill for. So she’s got to take her lumps when she makes a mistake like that.

Finn Balor accepts an open challenge from Curt Hawkins, wins a quick match. Happy to see Balor in the ring this week. Rumors said he was concussed during his match with Jinder Mahal last week. Apparently he was healthy enough to do a short match this week, which is good news. The last thing he needed was another serious injury.

Dash Wilder sustains a broken jaw at NXT live event, will be out of action until summer. Terrible break for the Revival. Between Wilder, Seth Rollins, Finn Balor, and Kofi Kingston’s ankle surgery, the injury bug is definitely going around.

A promo package airs featuring Bray Wyatt talking about the House of Horrors Match at Payback. This was the best parts of the entire show. Great horror imagery, combined with a promo without much of Bray’s trademark laughter. That’s a winning formula. Now if only they’d tell us what a House of  Horrors Match is.

Incidentally, Michael Cole called Payback a “Raw exclusive pay per view.” But it’s got matches for the WWE Title and the United States Title, both of which are on Smackdown. It’s an odd line-up, isn’t it?

Jeff Hardy def. Cesaro. Definitely the wrestling highlight of the show. Any time they put Cesaro in a prominent TV match, he delivers. Now if only Vince McMahon saw the same kind of star power in him that we all do.

Prior to the match, the Hardys did a backstage interview where Matt slipped a bit of his “Broken” accent in there. He’s clearly chomping at the bit to do that character on WWE TV. I can’t say I blame him.

Braun Strowman and the Big Show go to a No-Contest after they break the ring with a Superplex. Cole, Booker, and Corey Graves didn’t sell the ring break nearly enough. I understand we’ve seen this spot with Big Show before. But c’mon, guys! The damn ring imploded!

I continue to have mixed feelings about Braun Strowman leaving his feet during matches. In this match we saw him do dropkicks, kip-ups, and even Arm Drags. But if he’s going to do it, better he do it in a match with another giant. It obviously sets him apart quite a bit.

Follow Primary Ignition on Twitter, or at Facebook.com/PrimaryIgnition.

A Champions: Change the World Review – Social Justice League

TITLE: Champions, Vol. 1: Change the World
AUTHOR: Mark Waid
PENCILLER: Humberto Ramos
COLLECTS: Champions #1-5
FORMAT: Softcover
PUBLISHER: Marvel
PRICE: $15.99
RELEASE DATE: May 3, 2017

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Champions simultaneously is and is not a product of it’s time. Stories about the new generation rising up and righting the wrongs of the world have been around as long as storytelling itself. And of course, it’s a teenage superhero book. Not exactly a new concept.

At the same time, Mark Waid is going out of his way to be contemporary with Champions. You’ve got some standard teenage superhero stuff, sure. But the book also tackles Islamaphobia, Islamic Fundamentalism, feminism, and police brutality. This is very much a book for 21st century issues, as seen from one side of the political aisle.

In the aftermath of Civil War II, Ms. Marvel (Kamala Kham), Nova (Sam Alexander), and Spider-Man (Miles Morales) have left the Avengers. Determined to give the world heroes they can believe in again, they form a team of their own. A team that refuses to punch down or use unjust force, but instead win the day with wisdom and hope. With the addition of Hulk (Amadeus Cho), Viv Vision, and Cyclops, the Champions are born.

I feel like I owe Humberto Ramos an apology. HIs style is so exaggerated, cartoony even, that one can fall into the trap of underestimating just how good he is. I’ll admit it: That happened to me. But what makes Ramos so special is his versatility. Champions is a potpourri of what superhero comics can offer. It’s a teen dramedy. It’s a superhero action thriller. It’s a look at what it means to be a hero. It’s an inspiring look at what happens when seemingly ordinary people stand up for themselves. But Ramos’ work fits all of it, and ties everything together seamlessly. Visually, nothing feels awkward or out of place. I can only imagine the talent it takes to pull that off.

Mind you, there are some minor bumps in the road. Issue #2 give us a pretty pitiful case of panel duplication. There’s also a splash page where Hulk and Viv are making out that I still don’t get. Hulk is so much bigger than her. I just don’t get how their mouths would…match up? Nothing too intense. But it does briefly pluck you out of the story.

Both Mark Waid and Humberto Ramos have been outspoken regarding the Trump administration, and some of the moves they’ve made. Waid, along with other creators, has made efforts to create “safe spaces” at comic book conventions, and has generally been very public about his feelings toward bullies, hate-mongerers, etc. Ramos, on the other hand, has simply opted not to appear in states that voted for Trump.

Champions, issues #3 and #5 in particular, doesn’t hide that it’s a book written by people with those beliefs. The upside to that is we get some powerful material about standing up to hate, and not being afraid to put yourself at risk to do what’s right. The downside is that this isn’t what a lot of people want in their comics. Though I doubt Waid, Ramos, and the Champions team care who they piss off.

In this sense, the book can overplay it’s hand at times. Especially in issue #3, when we get to the Amal character. She’s a fierce young woman standing up against a militant extremist group committing gender apartheid. It’s pretty obvious how the reader is supposed to feel about her. But Waid makes a point of slipping in little lines about how she should be the leader of the Champions, and how she’s a bad ass. He’s coming from a good place, but that’s overkill.

Gwenpool pops up in issue #5 to join the team’s efforts against a crooked and racist sheriff turning a blind eye to hate crimes. Enraged when a mosque is set ablaze, Gwen and the Champions are tempted to respond with violence. They instead opt to take a more difficult, non-violent route. This has a little bit of a PSA feel to it, but it’s a good message, and an effective use of the Gwenpool character.

Champions has become arguably the most provocative and inviting book Marvel has on the stands right now. It’s not for everyone. But it doesn’t necessarily try to be. It’s also a tremendous example of how the superhero genre can be used for more than just popcorn fun. Change the World has that. But it’s clearly about much more.

Follow Primary Ignition on Twitter, or at Facebook.com/PrimaryIgnition.

A Batman: I Am Suicide Review – Love and Suicide

TITLE: Batman, Vol. 2: I Am Suicide
AUTHOR: Tom King
PENCILLERS: Mikel Janin, Mitch Gerads
COLLECTS: Batman #915
FORMAT: Softcover
PUBLISHER: DC Comics
PRICE: $16.99
RELEASED: April 12, 2017

***WARNING: Spoilers lay ahead!***

By Rob Siebert
Editor, Fanboy Wonder

Tom King is a great writer. Read his work on The Vision and tell me different. I dare you. But is he a great Batman writer? That’s not an easy question. I Am Gotham was a mixed bag, as is a large portion of I Am Suicide. 

Then we get to issues #14 and #15, and King delivers one of the best Batman/Catwoman stories I’ve ever read. But was that a simple flash in the pan? The culmination of a well-crafted story? Something in between?

Claire Clover, a.k.a. Gotham Girl, remains perpetually terrified thanks to the Psycho-Pirate’s ability to control his victims’ emotions. But he’s been taken to the island of Santa Prisca, inside one of the most savage and inescapable prisons on the planet. To infiltrate its walls, Batman and Amanda Waller assemble a makeshift Suicide Squad. Among its members is Catwoman, who stands accused of murdering 237 people. But murder may become a common theme here, as the Psycho-Pirate is under the protection of a man who spent his unthinkable childhood years in that prison, Bane.

At it’s core, this book is about Batman and Catwoman. Bruce and Selina. One of the most intriguing romances in all of popular culture. A fairy tale romance in many ways. But King puts his own spin on it, and looks at it in a way that’s almost psychoanalytic. Letters the two have sent each other serve as the narrative backdrop for issues #10 and #12. We learn that their relationship is largely about the pain they both feel, how it brings them together, and how when they kiss it briefly goes away. I like that. It’s as if it’s an unspoken truth that’s been there the whole time, and we’re just now seeing it. That’s what so many great writers do with these characters.

I’m less a fan of what King does with Bruce’s famous childhood vow to wage war on crime. In issue #12, Bruce reveals that he almost slit his wrists at age 10, before a moment of clarity showed him his true purpose. He then makes the solemn promise that would take him down the road to becoming Batman. Bruce calls his crusade “the choice of a boy. The choice to die. I am Batman. I am suicide.” We read those words as Batman literally fights off an army of gun-wielding prison guards.

I get what King is going for. I understand the unbearable pain of loss leading to a hero’s self-sacrifice. What I’m less enthralled with is the on-the-nose nature of the wrist cutting. The scene doesn’t need that.

Bruce starts that letter talking about the inherent humor in a grown man dressing up like a bat to “punch crime in the face.” It’s very Joker-ish. We even get what may be a vague reference to Mr. J. with the line: “All of them can laugh. Mother. Father. Him. The whole world.” He brings it around to something more serious, of course. But this dialogue speaks nicely to the yin-yang dynamic between Batman and the Joker, whether King mean it that way or not.

King caps the Batman/Catwoman stuff of in an amazing fashion with the “Rooftops” story in issues #14 and #15. I’ve covered those issues in-depth, but it’s worth repeating: “Rooftops” belongs among the greatest Catwoman stories ever told. Mitch Gerads handles the pencils, inks, and colors, bathing the characters in a gorgeous moonlight. What’s more, some of the expressions he gives Selina are just perfect. Throughout the book, King also has the characters call each other “Bat” and “Cat.” That’s a great little touch.

I credit Scott Snyder with doing a lot of justice to the Riddler during his Batman run. He gave the character his balls back. King begins that same process with Bane here, casting him as something of a mad and savage king. A king who, for some odd reason, has to be naked at all times. While things don’t really pick up in this respect until we get to subsequent issues, but this is where we see flashes of early ’90s Knightfall Bane. He’s not just a monster. He’s feared. He’s respected. He’s merciless. He even breaks Batman’s back again and leaves him to drown…

That last one might have been a little more effective if our hero hadn’t simply given himself an extreme chiropractic adjustment and fixed everything. I’ve heard of comic book science, but that right there is comic book medical science. Now if only he’d known that trick in the ’90s.

Also on Batman’s team is Arnold Wesker, a.k.a. the Ventriloquist. They build up his role significantly, and the payoff involves the character being able to subvert the Psycho-Pirate’s powers by virtue of his multiple personality syndrome. Again, comic book medical science. Though I had less issues with that than seeing Wesker make his bare hand talk as if there were an invisible puppet on it (shown below). Comics are so weird.

The majority of the book is drawn and inked by Mikel Janin, and colored by June Chung. I’ve had issues in the past with Janin’s figures looking too static, but we don’t see much of that here. Static or not, Janin’s work is always interesting. His characters look and feel very real, but they have that little touch of superhero dynamism. Case in point, his Batman looks relatively natural and real. But he also gives him a distinct scowl that really walks that line of exaggeration.

Janin and Chung also create a tremendous mood for the prison. It’s suitably dark and dank. You can almost feel that cold, damp air on your skin. Less subtle is the throne of skulls that we see Bane sitting on. We’ve seen this prison before. But it’s never been quite as haunting as it is here.

Despite the greatness of “Rooftops,” I’m not quite ready to call Tom King a great Batman writer just yet. Some of his choices plucked me right out of the story. But he’s becoming a good Batman writer, and that’s better than a lot of people ever get. Perhaps he just needed some time to get comfortable in Gotham City. Either way, this is an improvement. I’ve been excited to pick Batman up again.

Follow Primary Ignition on Twitter, or at Facebook.com/PrimaryIgnition.

A Review of The Walking Dead, Vol. 27 – Negan Rises, Lucille Falls

TITLE: The Walking Dead, Vol. 27: The Whisperer War
AUTHOR: Robert Kirkman
PENCILLER: Charlie Adlard
COLLECTS: The Walking Dead #157#162
FORMAT: Softcover
PUBLISHER: Image Comics
PRICE: $14.99
RELEASED:
March 1, 2017

***WARNING: Minor spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

The biggest thing I took away from The Whisperer War? That the Saviors were a tough act to follow.

That’s not to say they aren’t interesting in their own way. It’s hard to not be interested in a group that wears zombie flesh and rejects the idea of civilization. But the Whisperers are to The Walking Dead what Bane was to Christopher Nolan’s Batman movies. On his own merits, Bane was pretty damn evil in The Dark Knight Rises. But the Joker left such an impression on you in The Dark Knight that anyone else paled in comparison. Like the Joker, Negan made a very violent, vile, and personal impact on our heroes. But he was also uniquely charming. That’s why in many ways he’s become the star of the book.

More than two years after their war with the Saviors, Rick Grimes and our network of survivors are once again prepared to fight. But this time the enemy is very different, and the heroes have far more resources. But the Whisperers have something at their disposal  that could destroy everything Rick and the survivors have built: An army of the dead.

The most interesting aspect of this series since the time jump in issue #127 has been Negan’s quest for redemption. But we aren’t exactly sure if that’s his true motivation, or if he’s playing some kind of long game. Either way, we’ve gotten to see him from a few different perspectives. First as a prisoner, then an unlikely confidant for Rick, now a sort of comrade-in-arms.

Negan’s famous baseball bat, Lucille, is unexpectedly shattered in this book. It’s actually sad, in a silly sort of way. More endearing is the burial and eulogy he gives it in issue #162. As many of us know, it’s not really about a damn baseball bat. But seeing his personification of it come full circle is a neat little window into his heart.

On the subject of matters of the heart, Maggie has a great character moment. One of the newer characters, Dante, has been crushing on her for quite awhile. In this book he puts his cards on the table, but Maggie says she’ll only ever love Glenn. When he presses her on being alone for the rest of her life, she simply says: “I’m happy when I think of him. I’m not asking you to understand. I don’t care if it doesn’t make sense to you.” I love that. It’s unconventional, and it’s a great moment for fans who miss that relationship.

Artistically, the strongest issue is #162. Penciller Charlie Adlard, inker Stefano Gaudiano, and gray tone artist Cliff Rathburn give us a gorgeous two-page spread of the largest herd of walkers we’ve ever seen (shown right). But I also love the faint smile Adlard draws on Negan when he apologizes to Lucille for naming “a stupid f***ing baseball bat after you.” He also gives Rick a tremendous terrified look when he realizes the big hoard is coming.

The fire sequence in Issue #161 is also particularly strong. After an attack by the Whisperers, the Hilltop is burning. We see Carl nearly die after rushing back into a burning building. And for pure badassery, it’s tough to top Lydia kicking a zombie as the flames roar behind them.

The Walking Dead also shifts to a 16-panel grid for this volume (shown right), giving the book a much more dense feel at times. If you’re not used to seeing this layout, it can take some time to get used to. I once heard Gene Ha say it’s best to read a comic book twice, once for the story, and a second time just to absorb the art. That’s certainly the case here. I can’t imagine how much extra work this creates for Adlard, Gaudiano, and Rathburn. The books don’t suffer for the change, though. That’a a testament to the talent at work here.

I don’t know whether Negan is playing the long game. Be we know one person who is: Robert Kirkman. The Whisperer War is clearly a smaller piece of a larger puzzle he and this crew have been assembling since issue #127. Thus far it’s not quite as thrilling as what’s come before. But you can’t always judge an image until you can see the whole thing.

Follow Primary Ignition on Twitter, or at Facebook.com/PrimaryIgnition.

A Wonder Woman: The Lies Review – Wonder Woman Reloaded

TITLE: Wonder Woman, Vol. 1: The Lies
AUTHOR: Greg Rucka
PENCILLERS: Liam Sharp, Matthew Clark
COLLECTS: Wonder Woman: Rebirth #1Wonder Woman #1, #3, #5, #7, #9, #11
FORMAT: Softcover
PUBLISHER: DC Comics
PRICE: $16.99
RELEASED: February 22, 2017

By Rob Siebert
Editor, Fanboy Wonder

You don’t have to be a regular on the review sites to know fans have hit the jackpot with a lot of these DC Rebirth titles. I said this about The Flash. I said this about Green Arrow. But it rings true even more so in this case: We need a good Wonder Woman book now more than ever. Not just because of the movie coming out, but because of what America looks like right now. This character and what she stands for are as important now as they’ve ever been. You’ll find many magazine covers, t-shirts, dolls, and action figures, online games featuring her. There are even online casino sites that offer DC themed inspired slot games with her and other DC character. But it’s not always easy to find, say, a good Wonder Woman graphic novel.

With that in mind, giving Wonder Woman back to Greg Rucka was a good move. He’s done right by the women of DC Comics. He wrote the famous “Half a Life” story about Renee Montoya in the pages of Gotham Central. He co-created the current iteration of Batwoman, and had a damn good run with her in Detective Comics. He’s done some really good, though perhaps lesser known work with Huntress. He’s also one of the most heralded Wonder Woman writers of the past two decades. If anyone was qualified to give Diana a fresh start, it was him. His Wonder Woman is regal, yet grounded. Tough, sometimes even violent. But also nurturing and kind.

Diana’s memories have become muddled. The lines between fantasy and reality are blurred beyond distinction. Was she sculpted from clay by her mother and granted life by the gods? Or is she the child of Queen Hippolyta and Zeus? Why did she journey to the world of man? What is her truth? To find the answers, Wonder Woman seeks help from dear friend turned mortal enemy: Barbara Ann Minerva, the Cheetah. Meanwhile, Steve Trevor is on the hunt for a brutal terrorist who just happens to be in league with Urzkartaga, the monstrous deity in control of the Cheetah. Once again, Diana and Steve’s paths will cross. But is there any sort of future between them?

For clarity’s sake, it’s worth noting that Wonder Woman took a different approach to the company’s new bi-weekly scheduling. Simply put, the odd-numbered issues contained the story collected in The Lies and the even-numbered ones told a “Year One” story penciled by Nicola Scott. A cute little trick to give the artists more breathing room.

In the Rebirth issue, Rucka puts all the cards on the table regarding the character’s conflicting origin stories, then wipes the slate clean. A bold move, to be certain. But a welcome one. Diana’s origin and the mythological elements involved have always been tougher to grasp. At least for yours truly. The Lies is more about a personal quest than an epic battle of gods and monsters. She’s quite literally asking, “Who am I?” That’s very grounded and relatable.

That’s not to say that Diana’s memories suddenly changing makes a lot of sense from a story perspective. The Rebirth initiative restored a lot of great continuity. But to do that you often have to jump through a lot of storytelling hoops. Look no further than the Superman books for your examples. Rucka keeps things pretty vague in that sense. Ultimately, that’s for the better, I suppose.

But we’re not just learning about Diana. We also get a tremendously valuable look at the Cheetah. She’s arguably Wonder Woman’s greatest rival. But I’d wager that even more devoted comic book readers (myself included) struggle with her, even down to basic details. It’s easy to write her off when you put her next to villains like the Joker and Lex Luthor. You can almost mistake her for a Catwoman knock-off. But Rucka and Liam Sharp spend a good chunk of issues #1 and #3 laying her groundwork. Hell, a large portion of our plot revolves around her. Their partnership doesn’t necessarily end the way you think it will, either. Also, Barbara in human form is a dead ringer for Kate Winslet.

We also re-establish our supporting cast, most notably Steve Trevor and Etta Candy. The New 52 did Steve Trevor a lot of good. The earlier stories, at least. We get more of that here. As he’s done many times before, Steve plays the gentleman-in-jeopardy here. But he’s obviously more than that. Like Diana, Steve has to strike a delicate balance between toughness and sensitivity. Yet again, Rucka is able to walk that tightrope. Especially when we get to issue #9. In many ways, Steve Trevor is the embodiment of an enlightened male for the 21st century.

Liam Sharp is a tremendous pick for Wonder Woman. It goes back to balance. Sharp’s Wonder Woman looks like a gladiator, every bit at home in a fight. But then you also have the quieter, more emotional sequences like the one with Cheetah in issue #3, the reunion with Steve in issue #9, etc. Wonder Woman is more multi-faceted than most people realize, and Sharp illustrates that beautifully here.

Sharp’s take on Cheetah is also tremendous. She’s animalistic, but not beastly. She’s got those big, expressive, and very human eyes. Sharp’s line-work and shading also give her a texture we don’t often see. Yet another reason this book is one of the character’s finest hours.

Depending on when you were picking it up, Wonder Woman was hit or miss during the New 52 era. Thankfully, the Amazon Princess is once again in good hands. It’s a damn good time to be a Wonder Woman fan.

Follow Primary Ignition on Twitter, or at Facebook.com/PrimaryIgnition.

A DKIII: The Master Race #8 Review – Kryptonians vs. Amazons

TITLE: Dark Knight III: The Master Race #8
AUTHORS: Brian Azzarello, Frank Miller
PENCILLERS: Andy Kubert, Miller
PUBLISHER: DC Comics
PRICE: $5.99
RELEASED: March 29, 2017

Need to catch up? Check out issues #1, #2, #3, #4, #5, #6, and #7

***WARNING: Spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Originally, this was supposed to be the end of the line. DKIII was supposed to run for eight issues before a ninth was announced last September. As much respect as I have for all the talent involved here, they should have gone the other way and capped it at seven. DKIII has an okay story, but it’s officially worn out its welcome.

Quar’s Kryptonian forces are at war with Wonder Woman and the Amazons, with Lara the Supergirl caught in the middle. So now the question becomes: What action will be taken by the daughter of Superman and Wonder Woman? Meanwhile, the Lazarus Pit has restored Batman. But Quar is preparing to make his final move…

The entire story has been building toward this fight between the Kryptonians and the Amazons. But somehow, like last issue, this still fills like filler and transitional material. Andy Kubert, inker Klaus Janson, and colorist Alex Sinclair get to have flex their muscles by following Wonder Woman through a mildly gory battle sequence. But there’s not much drama in what we’re seeing. It’s just Wondie ripping through the bad guys because of some loophole about magic that isn’t really explained. All with a baby strapped to her back, who is somehow smiling through it all. Quar isn’t there, nor is Lara’s love interest. So these are essentially a bunch of Kryptonian foot soldiers.

This penultimate chapter, and this big battle, might have been the ideal place for Lara to make her choice. Does she side with her mother and the Amazons, or Quar and the Kryptonians? We get no such moment in this issue. Not even a cliffhanger to bring us into the next issue. That might have given this issue the emotional kick it desperately needs.

That’s not to say some of this isn’t fun. While there’s an extremely awkward splash page of Wonder Woman leaping (shown left), our artists do great work with the Amazons. Early on, they answer the Kryptonians’ challenge with a spear in a really cool way. Once we get into the physicality, Sinclair puts a red sky over the proceedings, striking a subtle yet pronounced emotional note. Azzarello also gives Diana a couple of good narration lines about the Amazons being an isolationist society: “Perfection stagnates. Perfection frustrates. Isolation gives to yearning.”

On the subject of Sinclair, this is his first time coloring the main story. You can absolutely notice the difference, everything pops a little more.

So where is Batman during all of this? He’s around. Like all the other characters, he’s being moved into position for the climax. Once he’s suited up, we do get a nice little moment with the Jerry Robinson Batmobile (shown below), its lone fin and big Bat head out in all it’s glory. As a life-long Batman buff, it made me smile.

But it also illuminates a major problem with DKIII. Out of the three chapters in Frank Miller’s so-called “Dark Knight trilogy,” this one may have the least to do with Batman himself. Or even the character’s lore and mythology. This feels less like a Batman story, and more like a Justice League story that Batman plays a big part in. The Dark Knight Strikes Again had a much larger scope than the original. DKIII might have been a good time to tighten the focus again.

There are elements in this story that make me wonder if that wasn’t supposed to be the case at one point. We see Carrie Kelley take up the mantle of Batgirl, the scene she had with Commissioner Yindel on the rooftop in issue #7, and a lot of little moments with she and Bruce. It almost feels like this started as a story where Bruce passes the torch to her, but plans were changed when Miller decided he wanted to do a fourth story. I have nothing concrete to base that on. Just a feeling.

Our mini-comic this month is Dark Knight Universe Presents: Detective Comics. We learn that Bruno, the woman from DKR with the flattop and the swastika pasties, is still alive. We get an incident with her and Commissioner Yindel at a prison, which I assume is supposed to be Arkham Asylum. There’s not much to write home about from a story perspective. But like last month, Frank Miller turns in some surprisingly clean line work. At times he reverts back to more of what he’s given us as of late. We’ll call it “disproportioned.” But by and large, Miller carries his end here.

But man oh man, I wish things would end here. Compared to The Dark Knight Strikes Again and All Star Batman and RobinDKIII is pretty harmless. But from an artistic perspective, it hasn’t been enough to justify dragging the DKR stuff out of the mothballs.

Follow Primary Ignition on Twitter, or at Facebook.com/PrimaryIgnition.