Posted in Comic Books/Graphic Novels

A Batman, Vol 11: The Fall and the Fallen Deep Dive – Too Much Canvas

TITLE: Batman, Vol. 11: The Fall and the Fallen
AUTHORS:
Tom King, Andy Kubert, Collin Kelly, Jackson Lanzing, Mairghread Scott, Steve Orlando, Tim Seeley
ARTISTS:
Mikel Janin, Jorge Fornes, Amancay Nahuelpan, Carlos D’Anda, Giuseppe Camuncoli, Cam Smith (Inker). Eduardo Risso, Patrick Gleason. Cover by Kubert.
COLORIST:
Jordie Bellaire, Trish Mulvihill, Luis Guerrero, Tomeu Morey, Dave Stewart, John Kalisz
LETTERER:
Clayton Cowles, Steve Wands, Andworld Design, Tom Workman, Tom Napolitano
COLLECTS:
Batman #7074, Batman: Secret Files #2
PUBLISHER:
DC Comics
PRICE:
$24.99
RELEASED:
December 18, 2019

By Rob Siebert
Fanboy Wonder

As a whole, City of Bane, which essentially starts here, is Tom King’s version of The Dark Knight Rises. Or if you want to go back further, the Knightfall storyline from the ’90s.

It’s also where the wheels come off King’s Batman run. I take no joy in saying that. But the proof is in the pudding, kids. So let’s dip our spoons in…

1. Daddy’s back.
The Fall and the Fallen is when we finally see Bane and Flashpoint Batman, a.k.a. Thomas Wayne from an alternate universe, team up to break our hero once and for all.

Yes friends, Thomas Wayne, one of Bruce Wayne’s parents, is here. You know about Bruce Wayne’s parents, right? They were murdered in front of their young son. It was that heinous act of violence that inspired Bruce’s vow to wage war on criminals for the rest of his life, and ultimately the creation of Batman. We saw these two come face-to-face in The Button, and it was a tremendously emotional experience for Bruce. One can only imagine what would go through his head if his father, even an alt-universe version, masterminded some kind of plot against him…

So tell me something: Why is Bane our big bad in this story? Why bring him into this when Bruce’s father shakes his son’s world to its core simply because he exists? Add the fact that this version of Thomas Wayne is his universe’s Batman, and Bane becomes redundant by comparison.

Batman #72 takes us back through the events of the series and outlines Bane’s plan, which all centers around the Bruce/Selina marriage. In the end, Thomas proposes a partnership.

But picture this, Thomas Wayne somehow survives the destruction of the Flashpoint universe and winds up in the DC Universe proper. He initially wants to seek out his “son,” but this alternate world intrigues him. So he opts to lay low, observe, and learn.

Remember, in The Button, Thomas pleaded with Bruce to stop being Batman and simply live his life. Devastated that Bruce hasn’t heeded his words, he decides he’s the only one that can stop his “son.” So he opts to do what must be done, by any means necessary.

In the end, it comes down to Batman against Batman. Father against son. It can be on the rooftops of Gotham, the Batcave, or anywhere really. All we need is the emotional impact of that showdown.

In the end, Catwoman shoots and kills Thomas in an act of desperation. Bruce then has to decide if he can forgive her or not. This would pay off the revelation from The War of Jokes and Riddles.

Not bad, huh? But no, instead we got another big fight with Bane. Yippee…

2. Father/Son Time
And what of what we actually get from father and son? They journey through the desert to get to a Lazarus Pit, occasionally stopping to fight members of Ra’s al Ghul’s personal guard. They take turns riding a horse, which is dragging a casket behind it. I won’t say who’s in it. But if you consider who we have in this scene and where they’re going it’s not too hard to figure out. There’s a really nice subtle reference to Batman: Knight of Vengeance, which is low key one of the best Batman stories of the last decade.

Old timey music has been a theme during Tom King’s run. In issue #73, he has Flashpoint Batman singing “Home, Home on the Range” to himself. Fun fact: It’s really weird to read that scene while playing Bing Crosby’s version of the song in the background…

Issue #74 is where things finally boil over between our Batmen. Thomas’ motivation, as always, is to get Bruce to surrender his life as Batman and live a normal life. That’s a hell of a premise for an issue. The trouble is, King spends far too much time harping on a story about a bedtime story Thomas told Bruce as a child about a bunch of animals eating each other in a pit. If I’m not mistaken, it’s an actual story written by Alexander Afanasyev, who’s widely considered to be the Russian counterpart to the Brothers Grimm. Father and son talk about the horror of it all, and why Bruce supposedly liked the story. They eventually get to the real meat of their conflict. But by the time they do, you feel frustrated because they’ve spent so much time talking about that damn story. Even during their inevitable battle in the pit, King uses the story as a narrative backdrop.

And all the while, I can’t help but think…Thomas Wayne, Batman’s dad, is standing right there. And this was the best they could do?

3. Dump the Duster
Okay DC, we get it. Batman v Superman was a thing. You guys liked the image of Batman in a duster and goggles, so you decided to use it. Fair enough.

But these issues came out in 2019. The movie came out in 2017. There was no need whatsoever to put the Flashpoint Batman in a duster and goggles just like the ones his “son” happened to wear several issues earlier in The Rules of Engagement.

If it looked cool, that would be one thing. But it doesn’t. Plus, it’s impractical and redundant even by superhero standards, and therefore silly.

What’s done is done. But let’s make this right. If you want to have Batman wearing his costume in the desert, that’s fine. Heck, if you want to have Bruce Wayne wear a duster and goggles, that’s fine. But you can’t have Batman wearing his costume in the desert with a duster and goggles. The two ideas are mutually exclusive. That’s got to be a rule in writing Batman from now on.

4. Batman Gone Batty?
Issues #70 and #71 focus on a needless, and at times silly plot point about people thinking Batman is losing it, and Jim Gordon severing ties with him.

When we open the book, our Caped Crusader is punching his way through Arkham Asylum, facing off with most of the supervillains you’d expect to see. It’s a great opportunity for Mikel Janin and Jorge Fornes to draw virtually all of the iconic rogues gallery.

The trouble is, King once again supplies us with bad Batman dialogue. Not the least of which is: “You challenge me with…nightmares? I live the nightmare! Bane! Why can’t you understand! I’m Batman! I am the nightmare.”

Shut up, already.

Given how convinced Batman is that Bane is faking insanity to remain in Arkham, and how intense and violent he is in his pursuit of the truth, Gordon becomes convinced that the Dark Knight has gone off the deep end. In issue #71 he tries to kick him off the roof of police headquarters (shown above).

That skepticism spreads to his extended family of superheroes, who are convinced Bruce is still grieving over his broken engagement to Selina Kyle. The situation is punctuated when he punches Tim Drake in the face.

There’s no worthwhile payoff to any of this. It all comes off like padding. Because it is padding. You can revolve an entire story arc around either of those moments. But instead they just come and go. That’s particularly a shame when it comes to the Gordon story, as there could have been some real substance to that.

5. Where’s Wesker?
This trade also contains Batman: Secret Files #2, which in theory is supposed to spotlight all “the villains who broke the Bat.” Okay, sure.

For what I think is the first time since Batman #23.1, Andy Kubert gets to write a Batman/Joker story. Things fare much better this time, largely because he goes the comedic route. Also, Amancay Nahuelpan draws a hell of a Clown Prince of Crime.

Colin Kelly and Jackson Lanzing put together a so-so story about the Psycho-Pirate leading a cult. Artist Carlos D’Anda overachieves on this one, which I did not expect.

Mairghread Scott and Giuseppe Camuncoli turn in a Riddler story that holds up pretty well. More amusing to me is the fact that “Sideburns Riddler” is still a thing.

Steve Orlando and Eduardo Risso steal the show with a Hugo Strange tale featuring multiple Batman “specimens.” Given he’s a mad doctor, I’ll let you jump to your own conclusions on what that story is about…

Tim Seeley teams with one of my personal favorites, Patrick Gleason, for a story late in Bane’s pre-Gotham days. I’m used to Gleason working with a much brighter color palette than John Kalisz provides here. That’s not a bad thing. It’s just different.

My big problem with this issue? No story about Arnold Wesker, a.k.a. the Ventriloquist. He’s on the cover, and plays one of the more interesting roles in Bane’s big scheme, as sort of Bane’s counterpart to Alfred. It’s a little disturbing, considering what happens to Alfred in the next volume.

6. Consistence and Versatility
The Secret Files issue notwithstanding, our drawing duties are split between Mikel Janin and Jorge Fornes. While The Fall and the Fallen may have its share of story problems, I can’t find much to complain about artistically. Both these men are awesome Batman artists very much in their element.

Mikel Janin was a star coming into this series. But he’s a superstar coming out of it. Speaking for myself, Janin’s art can now sell a book on its own. His line work is always super clean, his figure work consistent, and his character acting on point. I now look forward to specifically seeing his versions of Batman, the Joker, and even less flashy characters like Alfred and the Penguin. The fact that he’s got colorist extraordinaire Jordie Bellaire backing him up in this book does nothing but help, of course. But Janin’s style on its own is versatile enough to handle any story. Whether we’re on the streets of Gotham, the Source Wall at the edge of the universe, or anywhere in between.

Objectively, Janin’s best work in this book is probably issue #74, as that’s where the book hits its emotional crescendo and is really firing on all cylinders. But selfishly, I’m partial to issue #70 because Janin gets to draw some of the more obscure Batman villains. Calendar Man, Doctor Phosphorus, the Cavalier, etc.

It’s difficult to look at Jorge Fornes’ work without thinking of what David Mazzucchelli did with Batman: Year One. The figure rendering is similar, the texture is similar. Bellaire’s coloring doesn’t have the same faded palette that Richmond Lewis’ did. But it’s still reminiscent.

I can’t bring myself to complain about the similarities, because Year One is obviously one of the all-time greats. But that means Fornes is better in environments that are a little more mundane, and can have that noir-ish spin put on them. Street level scenes, Wayne Manor and Batcave scenes, etc. It’s no accident that a hero like Daredevil is also on his resume. But something tells me that, like Janin, he’s got a versatilty to him. One that isn’t necessarily apparent here. I’m anxious to see what he does next.

7. Too Much Canvas
When someone mentions Tom King the first thing that comes to mind, at least for me, is his 12-issue run on Vision. That was such a masterclass in comic book storytelling. It’s frustrating to think that someone who wove such a classic at Marvel could make these kind of mistakes on Batman.

What it all comes down to is too much canvas. Give an artist too much canvas to work on, and suddenly the focus of the art wavers. If any story has ever had too much canvas it’s City of Bane.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Comic Books/Graphic Novels

A Mighty Morphin Power Rangers #0 Review – Kid Tested, Adult Approved

Mighty Morphin Power Rangers #0, Red Ranger coverTITLE: Mighty Morphin Power Rangers #0
AUTHORS: Kyle Higgins, Steve Orlando, Mairghread Scott.
PENCILLERS: Hendry Prasetya, Corin Howell, Daniel Bayliss. Cover by Goni Montes.
PUBLISHER: BOOM! Studios
PRICE: $3.99
RELEASED: January 13, 2016

By Rob Siebert
Editor, Fanboy Wonder

Getting attention with nostalgia is easy. Keeping that attention is hard. This certainly isn’t the first Power Rangers comic book to get my attention. The folks over at Papercutz got it, and did a decent job with the license. But in terms of keeping that attention, this BOOM! Studios series has more potential than any comic book take on Power Rangers ever has. That’s how interesting the main story in this issue is.

Will it have that effect on everyone? No. But as a life long Power Rangers geek (Power Geek?), they’ve got me lassoed pretty hard. The formula? Keep the stories kid-friendly, but tell stories that also appeal to grown-up fans with money in their pockets. On paper, that’s not easy. But Higgins and Prasetya pull it off here.

Mighty Morphin Power Rangers #0, openingThe issue doesn’t give us anything in the way of backstory. So you’re expected to know who’s who, and what’s happened previously. One might consider that a flaw, but it doesn’t effect this book’s core audience. The story centers around Tommy, the Green Ranger. While the spell that made him do Rita Repulsa’s bidding has been broken, Tommy is still feeling residual effects. He’s having disturbing visions of Rita speaking to him in his daily life. Naturally, this effects his duties as a Power Ranger, and may even cause a rift between he and his new teammates. Meanwhile Rita, as always, is up to something…

The opening (shown left) is unlike anything we’ve ever seen in Power Rangers, and it’s an incredibly smart scene to begin with. All of our heroes are down (Dead?), and we see what I assume are the remains of the Command Center in the background. For a variety of reasons, this is something we never could have seen on the old show. But the one that comes to mind immediately is that it’s too dark for a kids show. But not for a comic book like this. With only one page, Higgins, Prasetya, and the creative team have immediately sold the adult fans on what this book can offer.

Kyle Higgins is about 30, which means he was likely a Power Rangers fan growing up, and it shows. The Rangers all feel like the characters we remember from the show, even down to their dialogue quirks. Jason, for instance, ends three of his lines in this book with the word “man.” Case in point: “You okay, man?” “You didn’t listen, man.” This seems trivial.  But it’s how he talked on the show, and it goes a long way toward making this book feel like a return to the old show.

Mighty Morphin Power Rangers #0, morph sceneA show like Power Rangers lends itself to the comic book medium in a lot of ways. It’s a low-budget action adventure series about superheroes who use giant robots to fight aliens. The scope is almost unlimited. You can do so much on the page that they couldn’t do on the screen, especially when you consider this show was made in the early ’90s. For instance, there’s a moment where the Pink Ranger detaches her Pterodactyl Dinozord from the Megazord, and uses it to catch some cars falling from a nearby bridge. That kind of thing was really rare in the show, and again, it serves as a selling point for this series.

Hendry Prasetya delivers big time on the artwork, giving us the kind of dynamic action we’re used to from these characters and this world. It’s almost like watching a new episode of the show, but from a different angle than we’re used to seeing things. The teenagers don’t necessarily look like the actors did, outside of superficial qualities. But that’s forgivable, as it’s more important that Prasetya captures the vibe and spirit of the show.

But as good as Prasetya is in this environment, it’s cover artist Goni Montes that Power Rangers fans are truly in debt to. Rarely, if ever, have the Rangers had the sense of grandeur they have on his variant covers. The one shown above is simply the one I got at my local shop. If you’re a Power Geek, you owe it to yourself to check them all out.

Mighty Morphin Power Rangers #0, teensThe biggest complaint I can lob at this issue is something rather subjective. Higgins brings Mighty Morphin Power Rangers into 2016 by giving the teens cell phones, and some talk about how Billy “posted review notes to the server and sent a push notification.” That’s basically extremely vague social media language. It’s not an unforgivable sin, but these are the only moments that take you out of the issue. It’s a new element to this world, which was created in the ’90s, that we have to adjust to. And it’s a curious one. This stuff doesn’t add anything significant, good or bad, to the story. So why have it? A similar thing was done in Ghostbusters: Legion, then Venkman and the guys had cell phones. You don’t need them. So why have them?

We have two back-up stories in this issue. The first stars our old friends Bulk & Skull. It’s fittingly cartoony, and sees them torturing their school principal. It ends with them setting a goal, fittingly involving the Power Rangers. We then get another follow up, where the Rangers duke it out with Goldar in what unfortunately comes off as a pretty generic fight sequence. There’s nothing wrong with the writing or the art in the second back up. But given the depth of what Higgins and Prasetya had already given us, it pales in comparison.  I almost wish they’d just given us a few more pages of Bulk & Skull.

This issue is a prelude to a story being billed as “The Untold Epic of the Green Ranger.” Considering the quality of this issue, I’m already sold on it. Considering what we got with this issue, we may be in store for the best MMPR comics we’ve ever seen. That’s a bold prediction, but it’s merited. This issue is morphenomenal!

Images courtesy of craveonline.com.

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