By Rob Siebert
Fanboy Wonder
Video time, again! We’ve revamped the channel, added some new faces behind the scenes, and my hope is that this will be the first of many videos to come.
This first video covers Green Lantern: Legacy, which I consider to be the best Green Lantern story to come along in quite some time…
Email Rob at primaryignition@yahoo.com, or check us out on Twitter.
TITLE: Teen Titans: Beast Boy
AUTHOR: Kami Garcia
ARTISTS: Gabriel Picolo w/Rob Haynes, David Calderon (Colorist), Gabriela Downie (Letterer)
PUBLISHER: DC Graphic Novels For Young Adults
PRICE: $16.99
RELEASED: September 1, 2020
By Rob Siebert
Fanboy Wonder
Teen Titans: Beast Boy brushes up against something I desperately wish it had explored further, as it’s something we rarely if ever see examined in superhero comics: Male body image issues.
That’s certainly not to say men have it worse than women in that department. Particularly as far as depictions in superhero books go. But it would have been a great route to take with a changeling superhero, and one that many a male reader could have identified with.
While not great, Beast Boy still turns out to be pretty good. Nothing Earth-shaking as far as YA books are concerned. But if you’re a Teen Titans fan, and especially if you enjoyed Teen Titans: Raven by this same team, it’s worth your time.
At it’s core, Beast Boy is about a kid who wants to fit in and be accepted. You’d be hard pressed to find a theme that’ll resonate with high schoolers more than that. It why our main character Gar Logan wants to change his image, change his body, etc. And of course, there’s a girl he wants to impress. Those two motivations cast a pretty wide net, making Gar a particularly sympathetic lead. Even when he starts developing animal shape-shifting powers.
Still, the book is able to find a nice balance between Gar’s teen angst, and portraying him as the light-hearted jokey character people know from the comics and cartoon show. This is true in terms of both Garcia’s writing and Picolo’s pencils, which more than once feel very reminiscent of how Beast Boy was drawn on the cartoon (see above). That comedy/drama balance can be very tough to strike, and I give the book a lot of credit for pulling it off.
Strangely, there’s a subplot in Beast Boy about a character with a learning disability that amounts to absolutely nothing. I’m all for representation and talking about these kinds of things. But shouldn’t it amount to something a little more than someone saying they have dyslexia?
Beast Boy is a sequel/spin-off to last year’s Teen Titans: Raven. As such, comparisons between the two are inevitable. Upon flipping through Raven, what immediately jumps out at me is the difference in the colors. David Calderon, our colorist for both books, used a largely muted palette of violets on Raven. There are similar muted tones in Beast Boy, but Calderon is also more inclined to make the colors pop more often. Gar’s skin tone, along with the green accent in his hair, are the most consistent example. There’s also a supporting character with really bright blue hair, making her particularly distinct.
The book takes a risk when Gar’s animagus powers start manifesting: His human body starts to mimic the animal he’s either channeling or about to change into. We see it with a mountain lion (right) and to a lesser extent with a bear. Whether it works or not is subjective. But I’m happy they didn’t overplay their hand with this trick. It could have ventured into silly territory very quickly.
For a long time now, I’ve argued that DC’s main Teen Titans series has lacked a sufficient amount of that “teen” element that’s supposed to distinguish it from books like Justice League. What these books by Garcia and Picolo do better than anything is put that “teen” back in Teen Titans. It’s a crucial, yet somehow often overlooked ingredient in their recipe for success.
For more DC Graphic Novels For Young Adults, check out Shadow of the Batgirl and The Lost Carnival.
Email Rob at primaryignition@yahoo.com, or check us out on Twitter.
TITLE: The Lost Carnival: A Dick Grayson Graphic Novel
AUTHOR: Michael Moreci
ARTISTS: Sas Milledge, Phil Hester, David Calderon (Colorist), Steve Wands (Letterer)
FORMAT: Softcover
PUBLISHER: DC Graphic Novels For Young Adults
PRICE: $16.99
RELEASED: May 5, 2020
By Rob Siebert
Fanboy Wonder
The Lost Carnival: A Dick Grayson Graphic Novel isn’t really a Dick Grayson graphic novel. Or at least it doesn’t feel like one. It’s more like a YA novel about a lost carnival forced into the graphic medium that they slapped the name Dick Grayson on for brand recognition.
All that being said, it’s still a pretty decent book.
The Lost Carnival introduces us to a teenage Dick Grayson, a traveling circus performer with his parents, the Flying Graysons. But the struggling circus is being walloped by a carnival that’s opted to set up shop nearby. Dick, however, soon discovers all is not as it seems. The carnival, and a mysterious young magician named Luciana, are linked to the past in ways Dick could never imagine.
My biggest problem with some (not all, some) of these original DC graphic novels is they don’t necessarily feel like they’re trying to tell a story about their main characters. Rather, it feels like the story was concocted first, and the character pasted on to it. For instance, a story about a girl in a band? It’s obviously about Black Canary! Girl in a wheelchair solving puzzles? Oracle! And if you’ve got a story with a carnival/circus theme, it’s got to be Dick Grayson. (I’m not making any accusations here. I’m just saying that’s what it feels like.)
For a book that claims it’s “redefining Dick Grayson for a new generation,” there’s not much in here that necessarily feels specific to Dick. He’s got a love interest, a best friend, a crush. He’s rebelling against his parents, and ultimately learns a lesson about holding on to those dear to him, All pretty standard YA stuff. Yes, he’s in the circus. But outside of the magic element, the book doesn’t play with that too much. An opening scene with Dick and his parents on the trapeze is about it.
But who is Dick Grayson, exactly? As Robin, he’s essentially the yin to Batman’s yang. He’s the plucky and exuberant light that keeps the Dark Knight from journeying too far into the proverbial darkness. Unlike Bruce, Dick also thrives when working with others. He becomes the leader of the Teen Titans, and develops close friendships with virtually all his teammates. He’s also quite simply an easy person to like and get along with.
Lots of teenagers struggle with not fitting in. The feel isolated. So in Dick’s situation, why not make that literal? The Lost Carnival tells us he only travels with his parents in the summer. But that’s a missed opportunity. Why not make him a year-round circus performer who’s home-schooled, and thus doesn’t know a lot of kids his own age? Thus, his connection to Luciana isn’t just your standard “boy crushing on girl” story.
The book gives Dick a best friend named Willow, a magician and fellow circus performer who will ultimately play into the book’s climax. But why not have the two start the book as virtual strangers, with Willlow having recently joined the circus. Then by the end of the book, Dick has something he didn’t have at the beginning: A new friend his own age.
Y’know. Just a thought.
The pencils and inks are credited to Sas Milledge with Phil Hester. Not quite sure how that breaks down. The figure rendering in this book has the tiniest bit of fluidity to it. It’s not much, but enough to make things feel a little bit off. Still, Milledge’s version of Dick Grayson manages to be pretty strong. Faithful enough that it reminds us of Nightwing, but unique enough to be her own.
The book plays with different color tints for different scenes, with everything else staying black and white. I can’t say it works amazingly in terms of setting a mood or a tone, or even separating parts of the book. But it’s a way to go. David Calderon’s colors look nice at any rate.
I won’t say The Lost Carnival is utterly forgettable. It works as a story about a magic carnival, but it underachieves as a story about a young Dick Grayson. There’s a certain authenticity that’s missing. The Flying Graysons may soar, but this Dick Grayson graphic novel falls short.
Email Rob at primaryignition@yahoo.com, or check us out on Twitter.
TITLE: Pulp
AUTHOR: Ed Brubaker
ARTISTS: Sean Phillips, Jacob Phillips
PUBLISHER: Image Comics
RATED: T
PRICE: $16.99
RELEASE DATE: August 4, 2020
By Rob Siebert
Prefers no pulp. But will still drink it.
Everybody loves a good comeback story. It’s inspiring. It’s hopeful. Lord knows we could use a good comeback story right about now. Like the old gunslinger who picks up his pistol one last time to do right, in the process reliving the glory days of his youth. Perhaps he even goes down swinging, fighting valiantly until the very end.
Pulp is like that. Sort of. Maybe. Much of it depends on how you see good guys and bad guys, and what the difference is between them.
Set in the ’30s with World War II in full swing, our main character Max Winters is an elderly man writing Western stories for the pulp magazines, barely making ends meet for he and his wife in the process. It’s a far cry from his youth, lived much like the characters he writes about. Max Winters was an outlaw. But the world has changed, it’s leaving him behind. Until a face from his past abruptly re-enters his life. After all this time, Max Winters might have to become an outlaw one last time…
The most interesting aspect of this book is the two very distinct eras it takes place in, separated by the Second Industrial Revolution. One one end, you’ve got the late 1800s in the American West. Cowboys, horses, six-shooters, stagecoach robberies, etc. On the other, you have New York City circa World War II. The effect is almost like time travel, as we see this cowboy simply trying to adjust and keep up in a big city. Heck, space travel, as it feels like a different world altogether.
On top of everything else, Max has a heart condition. So you can more or less see where Pulp is going. Combine that with all the lamenting, the bitterness, and the urge to pull one last job, and we get something very Brubaker-ish. Fans of Criminal and Kill or Be Killed will feel right at home here.
At this point, Brubaker and Sean Phillips have done so much together they’re almost their own noirish, pulpy, crime-ridden sub-genre. As with any highly established creative force, that works both for and against them. Readers know what to expect and are happy when you give it to them. But at the same time, how does Pulp make itself stand out among such an extensive catalog?
The answer, ultimately, is it doesn’t. Yes, there’s a certain novelty to seeing Phillips draw cowboys, and I like this twist on the “old gunslinger” story. But other than that, there’s nothing here that’s necessarily outside their usual wheelhouse.
If they’d stayed in the old west, perhaps it would be a different story. We’d get to see the Brubaker/Phillips give their gritty, moody spin on a Western. But it’s hard to say what we might have gotten there, as Pulp becomes a different book altogether. It definitely loses its old gunslinger hook.
If you’re new to the Brubaker/Phillips world, then I’d absolutely recommend Pulp. Almost like a starter story or an appetizer. Let this wet your appetite, then look for one of the tentpoles. But for those of us who’ve been here before, it’s largely business is usual. Which is to say business is good. Nothing too surprising. Just a day at the office.
Special Thanks to Edelweiss for providing an advance review copy of Pulp.
Email Rob at primaryignition@yahoo.com, or check us out on Twitter.
TITLE: Shadow of the Batgirl
AUTHOR: Sarah Kuhn
ARTISTS: Nicole Goux, Cris Peter (Colorist), Janice Chiang w/Saida Temofonte (Letterers)
FORMAT: Softcover
PUBLISHER: DC Graphic Novels For Young Adults
PRICE: $16.99
RELEASED: January 29, 2020
By Rob Siebert
Fanboy Wonder
There’s always been something special about the Cassandra Cain character. A certain X-factor that I can’t quite put my finger on. Perhaps it’s her unique origin story. Or the fact that she initially couldn’t communicate the same way everyone else did. Maybe it’s the diversity element. In the late ’90s, she was a young Asian girl among Batman’s other apprentices, who were primarily white males with dark hair. Perhaps it’s all that and more.
In any event, Cass may not be the most popular Batgirl there’s ever been. But she has a special connection with her fans. Thus, I was pleased to see her get the YA graphic novel treatment.
I enjoyed Shadow of the Batgirl. It’s a fresh and modern look at Cassandra Cain, and I’d argue the young-adult lens is perfect fit for her. But the book has some blaring flaws that I can’t seem to get past.
Cass’ origin is essentially unchanged. She’s the daughter of world-famous assassin David Cain, who trained her since birth to become a living weapon. Her regimen was so all-encompassing that she never learned to speak. Her language was combat. But when she runs away from that life to start anew in Gotham City, she must discover for herself who Cassandra Cain really is. But she won’t do it alone. She’ll have help from a few new friends. One of whom, a librarian named Barbara Gordon, knows quite a bit about the legendary Batgirl…
The Barbara Gordon stuff goes exactly where you think it’s going to go. Actually, Shadow of the Batgirl as a whole goes where you think it’s going to go. Which isn’t a bad thing. It hits all the right notes for a story about a young hero trying to find herself.
What’s more, Nicole Goux’s art is a tremendous fit for Cass. I don’t know if I’d call it “edgy,” as the promo copy on the back of the book does. But there’s an obvious Eastern influence to her work which fits the character like a glove. Personally, I found Goux’s art to be better suited to the dramatic and the dynamic. Her action sequences have a hard-hitting feel to them. Naturally, that’s an awesome quality to have if you’re working on Cass. Generally speaking, if Cass was fighting or moody, Goux was at home. Colorist Cris Peter also deserves a lot of credit for complimenting Goux’s work so well. His palette is a few shades darker than standard, and a little bit deeper. When Cass is in the dark, the result is delightfully moody.
While Cass’ supporting cast could easily have consisted of just Barbara, perhaps making for a more intimate feel between mentor and student, Sarah Kuhn fleshes out our supporting cast. Case in point, noodle shop owner and resident wise old sage Jackie Fujikawa Yoneyama. She’s got a nice Mr. Miyagi feel to her, offering wisdom, guidance, and even discipline to our young heroine. Like a surrogate parent, or the book’s answer to Alfred. Generally speaking, I enjoyed Jackie’s scenes a lot.
I was less fond of Erik, our love interest. There’s nothing wrong with him, per se. He just doesn’t do much to stand out. I’ll give Kuhn credit for making him sensitive and even a bit vulnerable, in contrast to Cass’ remarkable physical prowess. But other than that, he’s really only there to be pined over.
While very much enjoyable, for my money Shadow of the Batgirl has one major problem, one minor problem, and also misses a big opportunity
The minor problem involves Cass’ Batgirl costume. Not the thrown-together one we see her wear for a good portion of the book (shown at left). Rather, it’s the one she ends up with at the end. The one that’s supposed to be her officially-endorsed costume. Granted there’s a makeshift quality to that one as well, as Cass makes it herself. But the book lacks that all important awe-inspiring moment where she takes the legacy and the grandeur of Batgirl on her shoulders. Come to think of it, Cass’ original Batgirl costume wasn’t much to write home about either.
The major issue, at least in my mind, is almost funny. But it annoyed me and left me scratching my head for the first half of the book. When she first comes to Gotham, Cass creates a home for herself at the library. It’s there that Barbara is teaching a young writers class. The subject of which, at least while Cass happens to be watching, is Batgirl. We hear Babs say things like, “There’s nothing boring about Batgirl – she’s a hero!” and call her “Gotham City’s beloved daughter.”
In Shadow, Barbara is in her wheelchair but has yet to become the information broker to superheroes known as Oracle. The book doesn’t tell us what put her in the chair, but it seems like she’s still grieving. Thus, I could understand her using this writing class to work through some of her feelings about not being Batgirl anymore. The problem is the book never refers to it as such. So when we find out Babs’ secret, it feels very strange. Even egotistical. Certainly not behavior befitting either a hero or mentor.
Sadly, the book’s worst offense is that it doesn’t capitalize on what really made Cassandra Cain special in the first place. She wasn’t just unique amongst the Batman family. She was different than any other superhero you’d ever seen because she lacked conventional communication skills. Cass could barely speak, so she’d have to find other ways to express herself.
So many teens and young adults struggle to accept qualities that make them different, stand out, and in certain cases a little bit freakish. They see them as liabilities rather than potential strengths. While a dramatic example, Cassandra Cain certainly falls into that freakish category. I don’t think the book should have centered around her communication issues. But instead of giving her a standard YA love interest, why not use those pages to show her facing those challenges? It’s certainly not something you’d see in any other book. (At right is a small example from Cass’ original Batgirl run in 2000.)
Instead, Shadow opts for a more conventional route. Which is a shame, as Goux and colorist Cris Peteri certainly have the artistic chops to handle the increased emphasis on visuals rather than dialogue.
I definitely recommend Shadow of the Batgirl, especially for those who aren’t familiar with Cassandra Cain. It’s good book. In fact, I believe if it could have been a great book, had the raw materials been used a little bit differently…
Email Rob at primaryignition@yahoo.com, or check us out on Twitter.
***Retro Reviews are pieces of Primary Ignition‘s past (i.e. the old site) dug from the archives and returned to their rightful place. They’ve been minimally altered. The text has been cleaned up just a little, and I’ve updated the artistic credits to go beyond just the penciller. But this is mostly the content in its original form. At the end, I’ll throw in a bit of hindsight.***
TITLE: Superman: Earth One
AUTHOR: J. Michael Straczynski
ARTISTS: Shane Davis, Sandra Hope (Inker), Barbara Ciardo (Colorist), Rob Leigh (Letterer)
FORMAT: Hardcover
PUBLISHER: DC Comics
PRICE: $19.99
RELEASED: October 27, 2010
By Rob Siebert
Editor, Fanboy Wonder
DC wants their Ultimate line, damn it! And they’re going to rehash these origin stories over and over and over again until SOMEONE gets it right!!!
So I’m guessing because the Grant Morrison/Frank Quitely and Frank Miller/Jim Lee teams couldn’t hack it with a monthly schedule on the All-Star books, DC decided to introduce these Earth One graphic novels, which allow creators to tell stories without being bound down by continuity, tradition, etc. This book is the first in the series, with a Batman: Earth One on the way. Ironically, J. Michael Straczynski was actually taken off the monthly Superman title so he could start working on a sequel to this book.
As expected, Superman: Earth One puts Straczynski’s spin on the classic Superman origin story. It follows an early ’20s Clark Kent into Metropolis as he tries to find himself. We get frequent flashbacks to conversations he had with his adopted father, who in this story is deceased. Eventually, an alien being tracks the last surviving Kryptonian to Earth, and threatens to destroy the planet unless he shows himself. Thus, Clark becomes Superman, etc. etc.
If I sound cynical about this book, it’s because I am. I came into it that way. There’s no story in the comic book industry that’s been rehashed more than Superman’s origin. Geoff Johns was in the middle of rehashing it with Superman: Secret Origin when they announced this book. I understand different writers bring different perspectives and textures to the story. But when you get right down to it, it’s still the same story Just because you can put your own spin on something doesn’t mean you should. Heck, in All-Star Superman Morrison and Quitely were able to get the origin out of the way in four or five panels! And it was beautiful!
The Clark Kent of Earth One is very moody and broody. He walks around in a hoody and jeans, initially trying to find other ways to help humanity besides being a superhero. Some reviewers have made Twilight comparisons. While I’d prefer not to slander Superman with such a label, it’s not hard to picture Robert Pattinson under that hood. *shudders*
Still, credit where credit is due. Straczynski doesn’t use Lex Luthor, Braniac, or any of the stock villains in this story. He instead opts to create his own villain, whose native race was responsible for destroying Krypton. In every other Superman origin, the planet was simply destroyed via a natural disaster of some kind. Having it destroyed out of malice is an intriguing concept. Shane Davis’ art is also very good. My favorite image in the entire book comes toward the end, where Clark puts on the classic glasses for the first time. It’s a hipster look. But it’s new.
I don’t oppose the idea of a younger, less experienced Superman at all. But I think I’d be more inclined to like this book if so much of it hadn’t been done already. Clark’s recollections about his father are a perfect example. The whole “Son, you were put here for a reason” and “Clark, you’re going to find your place in this world,” and “You’re going to fulfill your true destiny” stuff has been done so much that I almost found myself rolling my eyes. Don’t get me wrong, it’s good storytelling. But there’s not much room for Straczynski to put his own spin on that. Or if there was, he didn’t.
For instance, Straczynski depicts The Daily Planet as a paper on the verge of going under, but Geoff Johns did that in Secret Origin. He portrays the public as mixed in terms of how they feel about Superman. But Mark Waid did that in Superman: Birthright, and the mainstream Superman comics have been playing up the “What if he turns on us?” angle for years now.
Bottom line ? I don’t get it. People have been so quick to drop heaps of praise upon this book. But aside from Clark’s age and the new villain, it just seems like a mishmash of things that have already been done. And believe me, they’ve been done better than this. By most standards, Superman: Earth One is a good book. But that’s not because of Straczynski’s creativity. It’s because Superman’s origin story was already good, whether he’s in a hoodie or not.
Now that Superman: Earth One has told its first chapter, hopefully Straczynski and Davis can work on being more innovative with their storytelling, and giving us things we haven’t seen before. In their defense, they obviously didn’t want to do a complete 180, and change the core essence of Superman. But this book breaks very little ground, if any.
RATING: 6.5/10
***IN HINDSIGHT: All of this still pretty much rings true. Amazingly, after all these years I still haven’t forgiven Straczynski for bailing on the “Grounded” storyline. It had so much potential and he just abandoned it.***
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TITLE: Black Canary: Ignite
AUTHOR: Meg Cabot
ARTISTS: Cara McGee, Caitlin Quirk (Colorist), Clayton Cowles (Letterer)
FORMAT: Softcover
PUBLISHER: DC Zoom
PRICE: $9.99
RELEASED: October 29, 2019
By Rob Siebert
Fanboy Wonder
Comics are visual medium. That should be news to approximately no one at all.
That’s why it’s usually difficult to follow a comic book where music is a story component. Sure, you can print lyrics on a page. But if you can’t take in the melody, feel the beat, and hear the emotion in the singer’s voice, it tends to take the punch out of a story.
Thus, I cannot overstate the importance of this video…
In Black Canary: Ignite, Dinah Lance is a brash middle schooler and the lead singer in a band with her two best friends. When we open the book, Dinah and her band are playing the song heard in the video above. With this audio acting as a supplement, it’s exponentially easier to be drawn into Ignite, and the story that’s beginning to unfold. Does it work without the video to accompany it? Sure. But I’d argue the book should have had an advertisement for the video in it. It makes that big a difference in terms of the overall experience.
Middle school is hard enough without learning to control a superpower. But that’s the position our young heroine finds herself in, as she inherits the supersonic “Canary Cry” from her mother. While Dinah comes to grips with what this means for her future, a mysterious villain stalks the Lance family…
Our author is Meg Cabot, who famously wrote The Princess Diaries series, which was later adapted into the films starring Anne Hathaway. It was interesting to read this book after Dear Justice League. That book was geared toward the same age group, but essentially anyone could enjoy it. Ignite, however, is clearly running on girl power. That’s not to say boys shouldn’t pick it up. But it’s aimed at a specific portion of the market, and also skews a bit younger than the other DC Zoom/DC Kids books I’ve read. I’d actually be more inclined to hand it to a kid about to go into middle school than someone already there.
The story has a lot of your standard teen tropes. Conflict with parents, conflict with friends, conflict with a teacher. Nothing that jumps out as especially unique or memorable. But it’s all well and good.
One slight complaint? Our story takes place in Gotham City. Dinah’s father, a police detective, is drawn almost exactly like Commissioner Gordon. Same white hair. Same mustache. Same brown trench coat. Slap a pair of glasses on him, and you’d be hard pressed to tell the difference between the two. I can see kids familiar with Batman’s world reading this and asking, “Wait, is she Commissioner Gordon’s daughter? I thought that was Batgirl.”
Almost every time I opened this book, Cara McGee’s art thrust “Bad Reputation” by Joan Jett and the Blackhearts into my mind. That might be the oddest critique I’ve ever given to comic art. But it’s true. Not a bad connection to make for a book about a rebellious young girl. Though I imagine it has a lot to do with Ronda Rousey using it in the UFC and WWE.
As a DC Comics buff, I can appreciate the way parts of Black Canary’s history were folded into Ignite. For awhile, it was canon that her mother had been the original Black Canary, and she was taking up the mantle. That’s the case here, as is her being mentored by Ted Grant, a.k.a. Wildcat. Her mother also runs a flower shop called “Sherwood Florist.” Dinah ran a business with the same name in the comics many years ago. There’s also no shortage of Batgirl references. They could very well have had a spin on Birds of Prey in mind.
Black Canary: Ignite is…fine. They had the foresight to record the song, which I love. But the writing? Just fine. The art? Just fine. The girl power vibe? That’s fine too. It doesn’t stand out the way they probably wanted it to with Cabot attached. But I tend to measure the quality of books like this based on whether I’d hand them to my daughter at the appropriate age. And I’d have no problem handing her Ignite.
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TITLE: Dear Justice League
AUTHOR: Michael Northrop
ARTIST: Gustavo Duarte
COLORIST: Marcelo Maiolo
LETTERER: Wes Abbott
FORMAT: Softcover
PUBLISHER: DC Zoom
PRICE: $9.99
RELEASED: September 2019
By Rob Siebert
Fanboy Wonder
I love this idea. Love, love, love it. Love. It. It’s so simple, yet so brilliant. In a culture where the Avengers are sitting at the cool kids table, this is how you introduce the Justice League to a young audience.
Fan mail. That’s it. That”s the premise. Yes, there’s an evil force consistently in the background. But the meat and potatoes of Dear Justice League is the heroes answering emails from young fans. The heroes all get roughly the same number of pages. Ergo, marquee characters like Batman and Wonder Woman don’t seem more important than say, Hawkgirl or Cyborg.
The questions fall on a spectrum between things kids can relate to and the comedic and zany. For instance, Batman gets asked: “Have you ever been the new kid in town?” On the other hand, Aquaman gets: “No offense, but do you smell like fish most of the time?” The King of Atlantis then proceeds to wander about the Hall of Justice trying to get the answer from other heroes.
But it’s not just the premise that makes the book. The winning formula comes when you combine the premise with Gustavo Duarte’s cartoony, “pencil sketch” style. It’s a perfect fit in every sense of the word. He captures the essence of each character, giving them a comedic spin without getting too silly. I really can’t say enough good things about it. It actually reminds me a little bit of the Pixar-style Justice League that artist Daniel Araya showed us several years ago.
My only complaint about this book? Cyborg doesn’t get a question! Alright, he does. But it’s a cop out question! C’mon. We can’t give the guy something with some meat to it? Heck, I’ve got one! “Hey Cyborg. Why don’t you hang out with the Teen Titans anymore? I thought you and Beast Boy were BFFs?”
Dear Justice League may have a lot of laughs. But I’m absolutely serious when I say it’s become one of my favorite League stories of all time. We’re talking top five. Maybe even top three. Frankly, I wouldn’t mind if something like this were part of the ongoing Justice League series. There’s absolutely no harm in taking a break from the Dark Multiverse and Martian Lex Luthor for something a little lighter and simpler.
Maybe that’s something the DC brain trust should keep in mind more often. Somebody should send ’em a poster that says “K.I.S.S.: Keep It Simple, Superheroes.”
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TITLE: Super Sons, Book 1 – The Polarshield Project
AUTHOR: Ridley Pearson
ARTIST: Ile Gonzalez
LETTERER: Saida Temofonte
PUBLISHER: DC Zoom
PRICE: $9.99
RELEASED: April 2, 2019
By Rob Siebert
Fanboy Wonder
That’s right, kids! The Super Sons are back at it! No, not those, and definitely not those. Here we have a new breed of Jon Kent and Damian Wayne designed specifically for middle grade readers. Heck, instead of Damian, he actually just goes by Ian Wayne in this book. Which if you think about it, is so simple it’s actually kind of brilliant.
Hey. If kids are reading comics again, he can be Ian McKellen for all I care.
Jon Kent and Ian Wayne, who unbeknownst to one another are the sons of Superman and Batman, both wind up attending middle school in the city of Wyndemere. Among their classmates are Tilly, who quickly befriends (and has a crush on) Jon, as well as the mysterious Candice. Together, these four will uncover a massive conspiracy involving a mysterious illness that has struck, among many others, Jon’s mother Lois. In the process, they’ll form a friendship strong enough to make them into a formidable team of young heroes.
It’s interesting to read this book as an adult, trying to see at it through the eyes of your middle school self. The Polarshield Project accomplishes what it needs to the most by giving young readers characters they can connect with. We have Jon as the everyman character, and thus the most accessible. Tilly is more or less his female equivalent, but is also there to help fill the romance quota. Candice is the young lady trying to discover who she is and find her place in the world. Naturally, Ian is the loner who, in his own words, has trouble making friends. There’s a lot to relate to here. Which is saying something, considering the world it takes place in.
Pearson and Gonzalez set up a rich backstory for Candice. She’s essentially the uncrowned princess of the continent of Landis, which is most certainly not Africa. The trouble is, The Polarshield Project has so much to accomplish that we aren’t necessarily given enough to sink our teeth into. It’s designed to be a larger story that carries into the next book. But if there’d been a little more meat on the bone, the anticipation for that next volume would be that much greater.
At one point, the boys create makeshift superhero identities for themselves. Oddly enough, while Jon does indeed get to be called Superboy, Ian gets the hokey moniker of “Batkid.” That’s the part of the book I enjoyed the least. Batkid feels to silly to be something created by that character. This version of Damian Wayne is in an awkward position. He’s old enough to be Robin. But he can’t be. Not yet, at least.
On a related note, for whatever reason this book makes a point of telling us Alfred is dead. Specifically, the line is, “We all wish Alfred were still here.” There’s nothing wrong with it, per se. It just feels a little out of place. Bruce Wayne isn’t in the story very much, so it’s not like we’re wondering where Alfred is. If nothing else, I suppose it establishes the time frame this story takes place in.
Saida Temofonte’s “animated” style fits quite naturally here, and has a great flow to it. Particularly when it comes to the action sequences. Her work leaves you wanting more, and for this world to continue expanding. Granted, seeing Damian with brown hair takes some getting used to…
In the end, The Polarshield Project is a fun and accessible new take on the DC Universe, with plenty of room to grow. Hopefully, that growth can play out over several volumes to come.
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TITLE: Batman, Vol. 5: The Rules of Engagement
AUTHOR: Tom King
PENCILLERS: Joelle Jones, Clay Mann, Lee Weeks, Michael Lark
COLLECTS: Batman #33–37, Batman Annual #2
FORMAT: Softcover
PUBLISHER: DC Comics
PRICE: $16.99
RELEASED: April 25, 2018
***WARNING: One or two minor spoilers ahead.***
By Rob Siebert
Fanboy Wonder
Didja catch that? See what they did there? “Rules of Engagement.” Only it’s like, engagement. You know, to be married and stuff. Yeah, you get it. See, it’s that kind of clever wordplay that’s kept the Batman mythos alive for 80 years…
So before DC went and made a lot of people mad with the Batman/Catwoman wedding storyline, this was the early portion of the build-up. Basically, this is the part where most of Bruce Wayne’s closest allies react to his decision to marry Selina Kyle. Damian, Dick, and his various surrogate sons. Superman. Even Talia al Ghul. Hijinks and violence ensue.
Oooo! I’ve got one! Ready? Together, Bruce and Selina are about to learn that the only “rules of engagement,” are that there are no rules.
Oh c’mon! If they can get away with Rules of Engagement…
1. A Walk Through the Desert
The first part of the book sees Batman and Catwoman enter the Middle Eastern nation of Khadym, which the U.N. and the Justice League have designated off-limits. It also happens to house Talia al Ghul and the League of Assassins. But Talia has something Bruce and Selina need to move forward with their marriage. Thus, the two sides are on a collision course. As you might expect, there are swords involved. Like, a lot of swords.
Presumably because of Batman v Superman, Batman dons a duster and goggles, despite also being in full costume. It was stupid in the movie. It’s no less stupid here. The look would eventually return for another desert story, and it was no less stupid there either. I’ll be incredibly happy when this damn trend fades away.
As she would later do on the Catwoman series, Joelle Jones turns in some marvelous work, alongside colorist Jordie Bellaire. While her style, complete with the dark jagged lines, doesn’t exactly mesh well with the quiet scenes in Wayne Manor, it’s a tremendous fit for all the desert stuff. Jones often shines when the dramatic and the grotesque come together. So when things get bloody, slicey, and stabby, she’s right at home.
Things culminate in a fight between Talia and Selina. It manages to be a pretty good fight. Not because of the physicality, but because of a stretch of dialogue where Selina proves she knows Bruce in a way Talia never has. She has a kind of insight into his mind and heart of which Talia may be incapable. From a writing standpoint, it’s one of the highlights of Tom King’s entire Batman run.
King also revisits the “Can Batman be happy?” idea he touched on during I Am Gotham. He uses Damian and Dick Grayson for some very poignant and effective stuff that cuts to the heart of the Batman character. I’ll leave it at that for now, as we’ll need to revisit it down the road anyway.
2. Double Date
The book shifts from bloody to comedic for a double date story that tips its hat to the sillier Superman/Batman stuff from the Golden Age. In “Super Friends,” Bruce and Selina take in a night at a carnival with Clark Kent and Lois Lane. King, Clay Mann, co-inker Seth Mann, and Bellaire go all out with the premise. The characters wear each other’s superhero costumes. Lois and Selina get wasted. Superman and Batman play baseball. By and large, it’s genuinely fun. Clay Mann’s rendering of Clark Kent in the Batsuit, glasses and all, is hilarious.
It does, however, raise one of the issues I often have with King’s writing: He can go a little off the deep end with the banter. It’s not so much an issue in “Super Friends,” as it’s a blatant comedy. But when you have, for instance, a high-stakes tale about Batman and Catwoman confronting Talia and the League of Assassins, going too heavy on the banter can cut into the drama.
Case in point, when we open issue #34, Batman and Catwoman are surrounded by assassins, hell bent on cutting them to pieces. This is a portion of the dialogue we get just before the fighting gets underway…
B: “Cat, I may be wearing a leather bat costume. But do I look dumb enough to make fun of you?
C: “I don’t know, Bat. Do I look dumb enough to not know what ‘a lot’ is?”
B: “No. You look lovely.”
C: “Sure, you say that now. Wait’ll I’ve got their blood all over me.”
One of King’s greatest strengths in writing Batman is how he conveys the connection between Batman and Catwoman. But even by couple-bickering standards, stuff like this is overindulgent. Sadly, this book is hardly the end of it.
3. Woundmates
I read an article not long ago that introduced me to the term “woundmate.” Long story short, it’s someone with whom you share a similar kind of trauma, or unsolved emotional problems and as such they feel like a soulmate. But in the end, they aren’t.
Re-reading “Some of These Days” from Batman Annual #2 reminded me of that article. Because in the end, that’s what Bruce and Selina are. Woundmates. That’s beautifully, and literally, illustrated by Lee Weeks as he channels his inner David Mazzucchelli. The story is obviously meant to be an extension of Batman: Year One, but it doesn’t work at all without Weeks.
Michael Lark is tagged in for the last few pages, as we time-jump to a potential future where Bruce and Selina have grown old together. Again, poignant. And downright touching when you get right down to it. I love Gotham Central as much as anybody, so I’ll never complain about seeing Lark back on a Bat-book.
4. A Deeper Connection
King uses the annual to retcon Batman and Catwoman’s history so they have a deeper connection. Most notable is that they discover one another’s identities very early on. I can’t say I love that, but I don’t hate it either.
What I’m not necessarily a fan of is Catwoman’s motivation in the story. She breaks into Wayne Manor multiple times, and later reveals she’s been doing it to essentially sharpen Batman’s edges so he doesn’t get killed. (See above image.)
Frankly, I just don’t buy it. Maybe I’m too hung up on the classic Batman/Catwoman presentation where they’re simply flirtatious. I can accept Selina being able to penetrate the walls Bruce has put up and catch him off guard. I can accept the idea that she cares about him. But something just isn’t right about the notion that she takes time out of her life to sharpen Batman’s skills. Remember how early in her career this is supposed to be. Early on, Catwoman is a hardened thief out for herself. She may have a heart of gold underneath it all, but that only extends so far…
5. The Verdict
The Rules of Engagement isn’t a must-read, even if you’re simply following the wedding storyline. It has the same flaws as most of Tom King’s Batman run. There is, however, some amazing art to be seen. I can’t help but be partial to Lee Weeks, but it’s also a strong outing for Joelle Jones. And if, like me, you’re a fan of the way King writes Bruce and Selina’s chemistry, you’ll enjoy it.
For more of Tom King’s run on Batman, check out I Am Gotham, I Am Suicide, I Am Bane, Batman/The Flash: The Button, and The War of Jokes and Riddles.
Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.
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