Tag Archives: DC Comics

Weekly Comic Haul: May 16, 2018: Batman, Flavor, “Shattered Grid”

By Rob Siebert
Fanboy Wonder

I’m Rob, and these are the comics I spent my hard-earned money on this week…

Flavor #1
I picked this one up for the sake of sheer curiosity. Flavor was advertised as The Hunger Games mixed with world-building akin to that of Hayao Miyazaki. Based purely on how it looks, I might throw Hell’s Kitchen in there as well. I mentioned this to Mrs. Primary Ignition, who doesn’t read a lot of comics. She promptly exclaimed, “That sounds amazing!” If it’s got her sold, it’s at least worth a look.

Batman #47
I’m not big on Batman using guns. It feels like a cheap trick to me. Or “cheap heat,” as they’d say in the wrestling world. “The Gift” introduced us to such a Batman. In an alternate timeline, of course.  But I’m nonetheless enjoying the story. It’s a tremendous spotlight for Booster Gold, who’s been a favorite of mine for a long time.

Dead Hand #2
Kyle Higgins had a double-header this week. The next chapter of “Shattered Grid” (more on that in a moment), and this baby. Dead Hand #1 surprised many a reader with a twist on its final page, leading us into this sophomore issue. This noir spy thriller is packed with plenty of intrigue, which is based a little more in reality than one might think.

Mighty Morphin Power Rangers #27
Higgins’ second outing of the week. I’m not big on the way “Shattered Grid” is prominently framed like a multiverse story, as opposed to a time-travel one. But it’s nonetheless amazing to see all these Rangers from all these eras getting to meet one another. I can certainly appreciate the use of Lauren Shiba from Power Rangers Samurai. She was about as underutilized as any Ranger in the show’s 25-year history.

A Walk Through Hell #1
I’ve been diving into the AfterShock Comics library in recent months. Babyteeth, Her Infernal Descent, Animosity, Black-Eyed Kids, etc. So I picked this one up for that reason above all else. I know very little about what to expect here, which is probably what they’re counting on. I know its about FBI agents investigating a mall shooting. That’s about it…

Justice League: No Justice #2
Someone needed to clarify this for me the other day: These four cooky teams aren’t staying together full time. They’re just here for this miniseries, and then the new Justice League book launches next month. That’s a little bit of a disappointment, as we’ve got some really interesting combinations here. Either way, No Justice has me picking up a Justice League book for the first time in a few years.

Gideon Falls #3
I wasn’t sure if I was going to stick with Gideon Falls after issue #1. But I found myself drawn back to it as the weeks went by. I’m grateful for that, as the characters have only gotten more interesting. Jeff Lemire, Andrea Sorrentino, and the Gideon Falls team have given us something irresistibly haunting.

Teenage Mutant Ninja Turtles #72
This book has had its share of flaws. But it’s still one of the best TMNT runs ever. Dave Watcher’s art has a nice gritty texture to it. And Ronda Pattison’s colors are gorgeous as always. The Toad Baron character is a lot of fun too.

Email Rob at PrimaryIgnition@yahoo.com, or follow Primary Ignition on Twitter.

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Weekly Comic Haul, May 9, 2018: Venom, Justice League: No Justice

By Rob Siebert
Fanboy Wonder

I’m Rob, and these are the comics I spent my hard-earned money on this week…

(And shame on me, there are no indie comics in my haul this week. Unless you count The Walking Dead as an indie comic. I do not.)

Venom #1
I’m not much of a Venom guy, so normally I wouldn’t have picked this one up. But Donny Cates’ name attracted me to it. He writes Babyteeth over at Aftershock, which I’ve really enjoyed. So I’m giving this one a whirl for him.

Justice League: No Justice #1
I’m not the world’s biggest Scott Snyder fan. He’s hit or miss with me. But the Justice League portion of DC Nation #0 piqued my interest. Plus, James Tynion IV and Joshua Williamson are attached, and I dig both of them. Francis Manapul is also an artistic deity. This has been proven.

Detective Comics #980
James Tynion IV is my favorite modern Batman writer. The fact that he’s bringing back all this ’90s and early ’00s stuff is a just a bonus.

Star Wars: The Last Jedi #1
I don’t normally pick up these Star Wars movie adaptations from Marvel. But the preview for this one caught my eye. A portion of it is done through Luke’s point of view, which is a nice little added hook.

The Walking Dead #178 and #179
In recent months, I’ve slept on The Walking Dead a little bit. It was partially intentional, and partially cost-related. I’m intrigued by the new direction they’ve taken things, but they obviously didn’t grab me hard enough to keep me buying month to month. Here’s hoping the combined effort of these two issues will change that.

Darth Vader #15
I’ve had to hold back on Darth Vader as well. This one was strictly a cost thing. Like issue #14, this one might be a candidate for “Epic Covers.” For some reason, part of me is always surprised when someone uses a lightsaber underwater. Luke just did that in Star Wars #48. Did they work that way in the “Legends” continuity?

Email Rob at PrimaryIgnition@yahoo.com, or follow Primary Ignition on Twitter.

The Fanboy’s Closet: Wonder Woman Gear for Guys

***In ”The Fanboy’s Closet,” I pull a geeky item of clothing from the closet, snap a pic, and then see what subjects it takes us into. Why? Why the hell not?!?***

By Rob Siebert
Fanboy Wonder

Another arrival from the folks at Loot Crate. Imagine the smile on my face when I pulled these suckers out of the bag. They’ve almost got a regal quality to them, what with the red and gold. Certainly fitting for an Amazon Princess.

You know what sucks? You don’t see a lot of Wonder Woman apparel out there for guys. I’m mainly thinking of t-shirts, but it doesn’t have to be exclusive to that. You see a little more now that the movie has been so successful. But before all that, if you were looking at a major retail outlet (Target, Walmart, Meijer, etc) you were almost out of luck. You’d have to go to a comic store or some other specialty shop. As much as I love my local comic shops, they’re not always easy to find for more casual superhero fans.

The only one I was ever able to find before Warner Bros. really started promoting Wonder Woman was at Hot Topic, and that was the DC Bombshells version of the character. No disrespect, but I’m talking about the true face of Wonder Woman. The feminist icon that has endured longer than most of her male counterparts.

(Incidentally, that Bombshells Wonder Woman t-shirt was in the bargain bin.)

From a purely capitalistic standpoint, I get it. You market male characters to men, and female characters to women. It’s only natural. That doesn’t mean I like or agree with it. But I understand. I just wish we lived in a world where men could be more secure in their masculinity. It would be a hell of an example to set for kids. Especially boys.

Here’s a challenge: Next time you go to a big box store, or any kind of clothing outlet, look in both the Men’s and Boys sections. See how often you spot Wonder Woman, or any female superhero. Black Widow, Supergirl, Gamora, etc. Not only can it be difficult, but on certain products they’re either shoved to the background or deliberately excluded (i.e. the shirt on the left).

At the risk of acting like the PC Police, I hate that. It’s so damn cynical and it sends a bad message. These characters don’t need to be separated by gender. Being a hero is for everyone. It would serve our next generation of men well to learn that early.

For those of you that are interested, I’ve taken the liberty of hunting down some of my favorite Wonder Woman t-shirts for men and boys. (Special thanks to the folks at NerdKungFu.com.) Please note the lack of oversexualization  or innuendo. That’s an entirely different issue…

Simple 75
At Your Service
Vintage Wonder Woman
American Heroine
Power
USA Banner

Email Rob at PrimaryIgnition@yahoo.com, or follow Primary Ignition on Twitter.

A Superman, Vol. 1: Son of Superman Review – A Family Affair

TITLE: Superman, Vol. 1: Son of Superman
AUTHORS: Peter Tomasi, Patrick Gleason
PENCILLERS: Gleason, Jorge Jimenez, Doug Mahnke
COLLECTS: Superman: Rebirth #1, Superman #16
FORMAT: Softcover
PUBLISHER: DC Comics
PRICE: $16.99
RELEASED: January 4, 2017

By Rob Siebert
Editor, Fanboy Wonder

This is the first ongoing Superman book in a long time that actually feels happy to be a Superman book.

This topic has been beaten to death, but let’s touch on it quickly: It’s time to stop trying to modernize, freshen up, or worst of all, “darken” Superman. It’s been done time and time again, and it never clicks. They’ve changed his costume. They’ve made him moody and broody. One time they even de-powered him and put him on a damn motorcycle. No more. It’s time to stop being ashamed of Superman. Let the character be who and what he’s always been at his core: A champion of values. Truth, justice, hope. and yes, the American way. Let the guy smile. Embrace the character’s legacy instead of hiding from it. Let him be the hero we need in these trying times.

Son of Superman does all of that, while still carving out a new direction for the Man of Steel. Simply put, it’s the best Superman book in years. Almost a decade, perhaps.

The DC Rebirth incarnation of Superman puts the post-Crisis on Infinite Earths version of the character back in the cape and boots. He’d been brought back for Convergence, and eventually became an ongoing character again in the pages of a new book, Lois and Clark. With him was his timeline’s incarnation of Lois Lane, and their young son Jonathan. As Clark Kent finds a balance between protecting the Earth and raising his son, Jonathan must learn to manage his emerging superpowers. With those powers come responsibility, risk, and a legacy…

Instead of focusing on Superman facing a threat, we spend most of this book learning about Jonathan. We see his response to living with a secret identity, how he reacts to challenges, and how Clark and Lois are raising him. They’ve accepted that he’ll one day inherit the Superman legacy, and are gently preparing him for the role. In theory, Superman works on two levels. Youngsters can identify with Jonathan, while older parent-aged readers connect with Clark and Lois. It’s by no means a sexy approach. But artistically, it’s true to the soul of the Superman character. His adopted parents instilled him with a set of principles. Now he has to pass those principles on to his son. But the dynamic is tweaked, because he’s able to relate to what Jonathan is going through. It’s a premise that lends itself to heart-felt storytelling, not unlike what we saw from Peter Tomasi and Patrick Gleason’s work in Batman & Robin.

We kick things off with Superman: Rebirth #1, which establishes our “new” hero, with some nice fan service thrown in. The New 52 Superman was killed off, and as the post-Crisis Superman is the one who famously died and returned, he sets about bringing his counterpart back in a similar fashion. Te issue is highlighted by artists Doug Mahnke, Jaime Mendoza, and Will Quintana giving us their take on the iconic Superman/Doomsday battle. It was out of continuity for so long, and it’s brought back in what I’ll call a “wide screen” sequence that plays out over about seven pages. Mendoza’s inks compliment Mahnke’s richly detailed pencils, and Quintana’s color make it every bit the glorious and epic scene it needs to be. The same applies to when they return for issue #5. We’ve got Superman talking to ghosts, we’ve got the Eradicator trying to eradicate things, we’ve got a big Batman robot straight out of a Snyder/Capullo comic…

Actually, I don’t mind the “Hellbat” returning from the Tomasi/Gleason Batman & Robin book. Maybe it’s because Lois Lane is the one using it, as opposed to Batman. It makes for a fun holdover.

But artistically, this book belongs to Patrick Gleason, inker Mick Gray, and colorist John Kalisz. Obviously, as a co-writer Gleason has the advantage of molding the story to fit his strengths. But just from a basic figure rendering perspective, it’s so amazing to see Superman look like Superman again. Even the classic spit curl, which I’ve never been a huge fan of, is a breath of fresh air. These pages are bright, flamboyant, and unabashedly sentimental. Gleason’s slightly exaggerated, animated style is a perfect fit for a story about a pre-teen learning to be a superhero. There’s a lot of fun on these pages.

Gleason also has an amazing knack for classic Superman iconography. The page at left comes to mind, with our hero in the classic pose as an American flag waves in the background. For obvious reasons, he lays it on a little stronger in issue #1. We’ve got a two-page spread that simply shows him opening his shirt to reveal the “S” insignia. That’s followed up immediately with another two-page spread giving us snapshots from Superman’s history. This is who Superman is, and who he’s always been. To see it all reemphasized is borderline beautiful.

The biggest obstacle this book faces is establishing that this is a “new” Superman from another timeline. They obviously devote a good amount of time to it. But it’s still a lot to wrap your head around, and has the potential to be really confusing for someone jumping on. This book is about a family trying to figure out how they fit into a new world. But that runs counterintuitive to how the average reader sees Superman, as he’s so ingrained in the fabric of the DC Universe. By the time we close the book, most of that awkwardness has subsided. But to say the least, this hasn’t been the smoothest Superman relaunch we’ve ever seen.

But it’s worth it in about every possible way. It’s been far too long since a Superman book has been this good. While this is obviously a new direction for the Man of Steel, in many ways it feels like he’s finally gotten back to his roots. That’s the Superman we need right now. That’s the Superman we’ve always needed.

Welcome back, Big Blue. We’ve missed you.

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

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A Batman: The War of Jokes and Riddles Review – Or So We’re Told…

TITLE: Batman, Vol. 4: The War of Jokes and Riddles
AUTHOR: Tom King
PENCILLERS: Mikel Janin, Clay Mann
COLLECTS: Batman #2532
FORMAT: Softcover
PUBLISHER: DC Comics
PRICE: $19.99
RELEASED: December 13, 2017

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

By Rob Siebert
Editor, Fanboy Wonder

The War of Jokes and Riddles is not what I expected. That’s not necessarily a bad thing. But you come into it anticipating a big, bloody, multi-layered brawl between comic book supervillains. What we get is more character-driven. I almost always prefer something like that to a story that’s simply about people punching each other. But the vibe we got going into this was that it was akin to a big summer blockbuster. There’s a lot more to The War of Jokes and Riddles. While you’ll get some really great stuff, it’s not a hotbed of fighting and explosions.

In the early days of Batman’s career, the unthinkable happens. After losing to Batman so many times, the Joker no longer finds the world funny. Recognizing a similar problem in himself, the Riddler proposes an alliance to kill the Dark Knight once and for all. When the Joker gives him a violent rejection, all out war breaks out. Both the Joker and the Riddler recruit different villains to their side, with Gotham City as their battle field. The winner earns the right to kill Batman. How can our hero stop a war that’s being fought over him? And what happens to the city caught in the crossfire?

I like Joker and Riddler as rivals. They both have mischievous and playful sort of motifs. So it makes sense they’d want to outdo each other. Factor in each one having their own faction of villains, and the scope of this story becomes huge. They could very well have done a bunch of tie-in issues where the different characters fight each other. Scarecrow vs. Mad Hatter, Solomon Grundy vs. Killer Croc, Two-Face vs, Scarface, etc. Given how people gobble up Batman stuff, you’d think that would have been an easy cash-in.

Instead, we stay in the pages of Batman. That approach has it’s advantages, of course. But as a result, what feels like a very expansive story winds up being confined. Much is left to exposition. We gloss over the whole recruitment process, and why certain characters choose Joker or Riddler’s side. We don’t see most of the big battles. We’re told what territory each side has. While there’s something to be said for not getting bogged down in too many details, it seems like half the fun of a story like this is watching all the characters butt heads. That’s a giant missed opportunity.

We do, however, see Deathstroke vs. Deadshot. Sort of. In theory, it’s a hell of a fight. But even that fails to deliver, as it’s jammed so tightly into the second half of issue #28. What’s more, the fight stretches logic pretty thin even by comic book standards. The two initially try to snipe each other, but on their first and only shots, their bullets collide. They then proceed to fight for five days, killing 62 people in the process. I get the artistic advantage of leaving it to the reader’s imagination. But they could have dedicated an entire story to Deathstroke vs. Deadshot. This fight could be an event comic on its own. So to be told about it instead of seeing it is frustrating.

On the plus side, almost everybody looks great. Mikel Janin gives us an almost twisted blend of realism and caricature. His Joker, for instance, has a pointed nose and in this story sports an exaggerated frown. But the art is so detailed and the colors so gorgeously rendered that it evokes real life. It’s often fascinating to look at, especially because his Joker seems heavily influenced by Brian Bolland’s work on The Killing Joke. The one character hurt by this approach is the Riddler, who inexplicably looks like John Cena.

Author Tom King frames The War of Jokes and Riddles around Bruce Wayne’s present-day marriage proposal to Selina Kyle. He tells her this story, as he apparently did something horrible during the war that could effect her decision to marry him. The reveal is a good one and makes sense.

But there’s also a larger issue that the story touches on, but doesn’t bring any resolution to. There’s an argument to be made that the real villain in all of this is Batman himself. These two groups of insane people are waging war over HIM. While they’re fighting to decide who gets to kill him, dozens of innocent people are being killed simply for being in the wrong place at the wrong time. In telling Selina this story, he’s trying to get absolution for something horrible he supposedly did. But it seems like he should want forgiveness for his part in all this. Although to be fair, the King does touch on something like that in the final scene…

Bruce also makes every effort to bring the violence to a halt, including the bizarrely entertaining dinner sequence that makes up the entirety of issue #29. Bruce Wayne invites virtually his entire rogues gallery into his home for a big, fancy, multi-course meal. The idea is for Bruce to servers a mediator and bring things to a resolution. The visual spectacle of seeing all these comic book supervillains together in a normal environment is almost worth the cover price on its own. It reminds me of one of the Jeph Loeb/Tim Sale Batman books. But then we dive deeper with both Joker and Riddler. How they’d kill Batman, and what they think of each other. You’ve also got the internalization of Bruce as he sits between them and listens to it all, silently and subtlety trying to maneuver Gotham out of harm’s way. At face value, the whole thing is almost absurd. But once you dive into it, it becomes one of the most delightful Batman character studies of the last decade.

Janin is also on fire in this issue. He has to draw three characters in the same position for several pages. But despite having to draw several consecutive panels of, for instance, the Joker sitting in a chair eating dinner (shown below), there’s almost no panel duplication. There’s a natural flow to it. You believe their body language. It’s beautiful.

Stuck in the middle of all this is D-list villain Kite Man. He becomes the unlikely focus for two interlude issues drawn by Clay Mann. As he plays a role in the finale, it’s called for. It also doubles as an origin story. King tries to set him up as a relatable, down on his luck father who has fallen in with a horrible crowd and pays the ultimate price. I like how King incorporates him toward the end. But I’m not sure we needed two full issues dedicated to Kite Man. Issue #27 gives us all we need, so issue #30 feels mostly like filler. King also attempts to create the catchphrase: “Kite Man. Hell yeah.” Doesn’t work.

The War of Jokes and Riddles wound up being a mixed bag. We didn’t get a war as much as we got moments from a war. The beginning, the end, and the important moments in between. That doesn’t fill all of our dramatic needs in terms of this being a big, violent, bloody fight between crazy people. At one point we see a  bunch of pictures of people who’ve died. But we don’t see where or how they died. There’s a frustrating gap there which leaves you wanting more than the book delivers.

On the flip side, this is some of the best work Mikel Janin has ever done. The War of Jokes and Riddles should absolutely be turned into one of those oversized hardcovers DC puts out. It deserves to be admired for years to come. Tom King also gives us his best character work yet. He illustrates a tremendous understanding of how Batman, the Joker, and the Riddler think. So when he puts them together it feels very genuine. It’s the same kind of magic that made The Vision work so well.

King does have the magic in him, doesn’t he? It’s just a question of how often we see it.

For more of Tom King’s Batman, check out Vol. 1: I Am Bane, Vol. 2: I Am Suicide, Vol. 3: I Am Bane, and Batman/The Flash: The Button

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

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A Justice League Review – Lessons Learned

TITLE: Justice League
STARRING: Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Ezra Miller
DIRECTOR: Zack Snyder
STUDIOS: Warner Bros. Pictures, DC Films, RatPac Entertainment, Atlas Entertainment, Cruel and Unusual Films
RATED: PG-13
RUN-TIME:
 120 min
RELEASED: November 17, 2017

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

By Rob Siebert
Editor, Fanboy Wonder

Justice League is a standard superhero popcorn flick. It’s nowhere near as dark, dreary, and generally abysmal as Batman v Superman. But it also doesn’t accomplish anything remotely special. It’s about a team of heroes coming together to fight a villain with a doomsday plan. Been there, done that. Several times, actually. So what we get comes off completely and utterly average.

After all these years, the first Justice League feature film is just average. What an awful, heartbreaking waste…

The plot is basic enough to surmise from the advertising. As the world continues to mourn the death of Superman, we’ve got a new big bad in town. Steppenwolf, a tyrant from the hellscape world of Apokalips, has returned to Earth after thousands of years with his army of Parademons in tow. He aims to conquer the world using the immense power of three “Mother Boxes.” Batman and Wonder Woman prepare to meet this invasion head on by assembling a team of super-powered heroes. The Flash, Cyborg, and Aquaman are all called to action. But in the end, they won’t be enough. For this new team to triumph, Superman must return…

Trust me, it’s a lot more exciting on paper than it is on screen.

Justice League is the culmination of the years-long comedy of errors that is the “DC Extended Universe.” Man of Steel was an adequate start, flawed as it was with it’s dreary look and overindulgent third act. It was followed by the downright dour Batman v Superman, which robbed its characters of almost any charm, heart, or likability. Suicide Squad wasted arguably pop culture’s most iconic supervillain in the Joker, but managed to be fun in a mindless hot mess sort of way. Wonder Woman was the exception that made the rule. It felt like a single vision, with purpose, heart, and passion put into it.

And so, on one the most rickety foundations in cinematic history, Justice League was built. Like Suicide Squad before it, this movie feels like a melting pot of visions, voices, and priorities clumped together to form a viable commercial product. Our director is once again Zack Snyder. But with their confidence shaken from the backlash to Batman v Superman, Warner Bros. brought in Avengers director Joss Whedon to reshape the script. Thus, we have a Joss Whedon superhero movie taking place in Zack Snyder’s grim DC Universe, under the management of a studio desperate to compete with Marvel at the box office. Hot damn! Sign me up!

One of the major missteps in Justice League is it’s choice of villain. DC Comics lore is full of baddies worthy of challenging Batman, Superman, and Wonder Woman. Darkseid is the obvious choice. But you’ve also got big cosmic villains like Brainiac, Mongul, and Despero. Professor Ivo and the Amazo android could have made for an interesting story. Hell, team Lex Luthor up with the Joker! It sure as hell beats Steppenwolf…

Yes, Steppenwolf. A second-rate, paper-thin, poorly rendered Darkseid stand-in with an army of space bugs, a silly name, and a generic doomsday plot. This is who they came up with to face the Justice League in their debut feature film. Strictly from a cynical marketing standpoint, how the hell to you pass up slapping Darkseid, Brainiac, or Lex Luthor on t-shirts and posters, and instead opt for someone called Steppenwolf?

Justice League cost a whopping $300 million to make. That’s astounding, considering our CGI-rendered Steppenwolf looks like he was done in the late ’90s. It’s not just him, either. It’s been well documented that reshoots were done with a mustached Henry Cavill. The movie’s opening sequence wasn’t even over before Mrs. Primary Ignition turned to me and asked, “What’s up with Superman’s mouth?” Certain shots in Batman’s introduction are also extremely fake looking. Makes you wonder what the hell happened to good old fashioned stunt doubles and prosthetic make up…

Superman has a certain aura of reverence in this movie. Had that been earned or established in Man of Steel or Batman v Superman, that would have been fantastic. I’ve always been a proponent of Superman being the center, or at least part of the center, of the DC Universe. He’s certainly its moral backbone. But all this mourning we see over Superman doesn’t match the controversial figure we saw in Batman v Superman. Yes, some people loved him. But he was also the subject of protests and a congressional hearing. Lois Lane, Batman, Wonder Woman, and those who knew Superman have a reason to miss him. But based on what we saw before, there’d be a large contingent of people who’d be glad Superman died.

So now that I’ve sufficiently ripped Justice League apart, what’s there to like? What did they get right? Believe it or not, all was not lost from the get go…

Unlike in Batman v. Superman, almost all of our heroes are likable. Superman knows how to smile. Wonder Woman is compassionate, but still fierce. I’ve never needed a lot of selling on Ben Affleck’s Batman. Joss Whedon’s influence in the movie is obvious when the Dark Knight gets in a quip or two. Ezra Miller plays a socially inept Flash, who provides much of the comic relief. His costume looks absolutely ridiculous. But there’s a certain charm to him. Jason Momoa’s Aquaman is surprisingly okay as a dude bro. For a team flick, it works fine. Granted it’s not the approach I would have gone with, and they’ll obviously need to deepen his character for the Aquaman solo movie. Assuming that’s still in the pipeline after all this.

As much as this movie fell short of what it could have been, there is a certain warm and fuzzy quality to seeing these characters on the big screen together. Most of them aren’t true to the essence of the iconic characters they’re based on. But at the very least it’s cool on a superficial level to see Batman is standing next to Wonder Woman. Superman is running next to the Flash! Aquaman is in Atlantis! It’s a highly tarnished version of what we should be getting. But at least we’re getting it in some form. That counts for something.

And so, four years into the DC Extended Universe, what have we learned? What has the road to Justice League taught us? More than anything, it’s this: Darkness doesn’t equate to quality. At least not to larger audiences.

Some people point to darker tales like The Dark Knight Returns and Watchmen as the pinnacle of the superhero genre. But while they pushed the boundaries of how these stories and characters could work and be seen, they weren’t simply dark for the sake of darkness. The Dark Knight Returns isn’t just about an older and grittier Batman getting to punch Superman in the face. It’s about a hero returning to face a world that’s changed in his absence. Watchmen isn’t about Rorschach beating people up. It’s a look at superheroes from a different, more grounded angle. The dark tones fit the stories and the characters, not the other way around.

We also need to remember that at the end of the day these characters are meant for children. That doesn’t mean we can’t love them as adults. We don’t need to dumb them down for kids, but we can’t keep them all for ourselves either. If DC and Warner Bros. should have learned one thing from Disney and Marvel, it wasn’t the cinematic universe element. It’s that these movies can be accessible to viewers of all ages. They can be mature without being meant for mature audiences.

The blame Justice League‘s failures, creative and otherwise, falls primarily on the studio higher-ups. But the finger also needs to be pointed at Zack Snyder. He’s got a devoted fanbase that will filet me for saying so. But if Batman v Superman didn’t convince you, the fact that the first Justice League movie didn’t outperform the third Thor movie should say it all. Snyder must be kept far away from any and all future DC films. I shudder to think what this movie would have looked like without Joss Whedon’s influence. 

Superhero movies can be thrilling, emotional, and surprisingly versatile. But at their core, they aren’t complicated. Give us a hero worth rooting for, a villain worth rooting against, and a reason for them to fight. We don’t need to see a bad guy get his neck snapped, a bomb inside a jar of piss, or a city destroyed to compensate for a lack of emotional connection with the audience. 

Lessons learned. Six years and millions of dollars too late. But lessons learned…

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

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A Doomsday Clock #1 Review – I Have a Bad Feeling About This…

TITLE: Doomsday Clock #1
AUTHOR: Geoff Johns
PENCILLER: Gary Frank
PUBLISHER: DC Comics
PRICE: $4.99
RELEAED: November 22, 2017

***WARNING: Full on spoilers lay ahead.***

By Rob Siebert
Editor, Fanboy Wonder

Doomsday Clock #1 is a pretty good first chapter. Assuming you have an off switch for your conscience.

By now I really thought I’d be calloused to the idea of DC doing a sequel to Watchmen without the approval or involvement of author Alan Moore or artist Dave Gibbons. Not that they need it. They own the rights to the story and characters, and have been milking them ever since. Naturally, Moore has been sore about it for decades. Years ago the company even published several character-centric Before Watchmen prequel stories. So Doomsday Clock is hardly unprecedented. Throw in all the bits and pieces of Watchmen lore DC has sprinkled around since the Rebirth story began, and you’d think I’d be ready for this…

But Doomsday Clock #1 feels dirty just like Before Watchmen felt dirty. Realities of the publishing industry notwithstanding, this reeks of DC taking toys out of someone else’s sandbox. If you can ignore that side of things, I imagine Doomsday Clock simply becomes the latest Geoff Johns epic. But for many of us in the know, there’s a discomfort level to all this that isn’t going away.

Set several years after the events of Watchmen, we see that Adrian Veidt’s hoax to bring about world peace was only a short term success. Global tensions are at an all time high, as is the threat of nuclear war. Amidst all of this, Rorschach, or rather someone assuming the Rorschach identity, breaks two former supervillains out of prison to aid he and Veldt in setting the world right again. To do that, Doctor Manhattan must be found. But as we’ve seen, the former Jonathan Osterman has been busy making waves in the DC Universe. Worlds are about to collide.

When you come back somewhere after a long time away, you’re naturally curious to see what changed in your absence. Despite what you might call it’s lack of authenticity, parts of Doomsday Clock are intriguing from a world-building perspective. How exactly do things change after a giant alien squid is supposedly dropped on New York City? Not that much, apparently. The world we’re met with is very similar to the one we left. Distress over the airwaves, violence in the streets. The more things change, the more they stay the same. Even our narrator is the same, more or less…

Indeed, there’s a new Rorschach in town. We don’t know much about who he is, other than he works with Veldt, and has brown skin (shown above). I initially rolled my eyes at the idea of Rorschach being a “legacy character.” It’s a tried and true tool in the world of superhero comics. Have a dead hero? Just make a new one with the same M.O. But Rorschach had such a unique and distinct voice that it’s almost cringeworthy to use that trick with him.

But did they even have a choice? Rorschach is such a gigantic and integral part of Watchmen. We saw so much of that world through his eyes. You almost can’t revisit it without him. Plus, Watchmen had legacy characters. Like Doomsday Clock itself, I can see why you’d want to create another Rorschach, but something about it feels really wrong. And no, it’s got nothing to do with his race. Having him be black is fine. It doesn’t add or subtract anything, outside of making for a clever reveal.

Watchmen was never big on humor, per se. You can find things to chuckle about, but very little (if anything) is played for straight up laughs. That’s not the case with Doomsday Clock. There are a handful of funny lines and one full-on gag, most of which revolve around the ultra-serious Rorschach reacting to things. While the humor works, this isn’t a world we’re used to laughing at. Watchmen was big on darkness and despair. We see a rape, the murder of a pregnant woman, dogs being murdered with a meat cleaver, etc. So while it’s funny to see a character called the Mime pull imaginary weapons out of a prison locker (shown below), the tone shift takes some getting used to.

Technologically, the comic book industry has come a long way since Watchmen. The story had a pulpy aesthetic to it that was ultimately part of its charm. Doomsday Clock doesn’t try to replicate that. But I give artist Gary Frank and colorist Brad Anderson a lot of credit for making this look and feel like a story set in the same universe. The colors have a lot more depth and richness. But there’s nevertheless something familiar about those city streets we open up on, or the dark and dank feel of the prison. Letterer Rob Leigh even nailed Rorschach’s handwriting for the caption boxes. (Even though this isn’t the same Rorschach anymore. So does that even make sense?) Comparatively, Doomsday Clock is almost like switching your television from standard to high definition, with the one drawback being the loss of the pulp look.

Tacked on at the end of all this is none other than Superman. We flash back via dream sequence to Ma and Pa Kent driving a young Clark to senior prom. We’re reminded just how lonesome and isolated Clark’s secret can make him as he watches the other kids dance. We then see the tragic accident that killed his adoptive parents.

Oddly enough, this strikes me as a scene about Doctor Manhattan. Doomsday Clock is meant to be about a conflict between hope and cynicism. With the DC Universe representing hope, and Watchmen cynicism. Superman is, of course, an ever present symbol of hope and optimism. A man raised by loving parents who instilled him with a set of values and ideals. In contrast, Jonathan Osterman lost his mother at a young age, and was forced by his father to pursue a career in nuclear physics. Later, Doctor Manhattan’s powers left him increasingly isolated. He eventually regarded human life itself as insignificant. These are to men on polar opposite ends of a spectrum. Yet under different circumstances, Clark Kent could have become Doctor Manhattan. With a better upbringing, Jon Osterman could have been a symbol of hope…

With all this talk of hope and cynicism, Doomsday Clock has the potential to be very poignant, given the era we’re living in. But good or bad, it’s destined to have an asterisk next to it because of the circumstances with Watchmen and its creators. Much can be said about what rights creators should or shouldn’t have, as well as Moore’s less than sunny disposition. But what I keep coming back to is this: If I’d put my time, my energy, and my heart into making this world and these characters, and a big company was in a position to make a lot of money off them, I’d want to be listened to. I’d like to think certain things outweigh the importance of money. Like respect. Dignity. Integrity.

Perhaps that’s just blind hope.

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