A Catwoman 100-Page Super Spectacular Deep Dive – Aliens and Feminism

TITLE: Catwoman 80th Anniversary 100-Page Super Spectacular
AUTHORS: Paul Dini, Ann Nocenti, Tom King, Mindy Newell, Jeff Parker, Liam Sharpe, Mindy Newell, Chuck Dixon, Will Pfiefer, Ram V, Ed Brubaker.
ARTISTS: Emanuela Lupaccino, Robson Rocha, Mikel Janin, Jonathan Case, Sharpe, Lee Garbett, Kelley Jones, Pia Guerra, Fernando Blanco, Cameron Stewart. 1940s variant cover by Adam Hughes.
INKERS: Mick Gray, Daniel Henriques, Danny Miki
COLORISTS:
Laura Allred, Alejandro Sanchez, Jordie Bellaire, Alex Sinclair, Steve Oliff, FCD Plascencia
LETTERERS:
Wes Abbott, Saida Temofonte, Clayton Cowles, Tom Napolitano, Tom Orzechowski, Gabriela Downe
PUBLISHER: DC Comics
PRICE: $9.99
RELEASED: June 3, 2020

By Rob Siebert
Fanboy Wonder

She’s undoubtedly the hottest 80-year-old woman you’ll ever see.

That’s right, folks. Like several other pillar characters in the DC Universe, Catwoman turns 80 this year. So like those characters, she got her own 100-page celebration. I can’t say she doesn’t deserve it. In terms of feminist icons, there are some who would place her in Wonder Woman’s orbit. I’m not sure I’d go that far, but one simply can’t dispute how iconic she is. Thus, DC assembled a brilliant assortment of talent for her big birthday celebration.

We kick things off with Paul Dini, who is always welcome in the Batman universe. Though I can’t say this is one of his most memorable outings. He uses his eight pages to introduce is to a villain called the Taxidermist. That, as Selina herself says in the story, is very “Gotham.” The Taxidermist seems like the kind of idea that was good on paper, but in actual execution…meh. I wouldn’t expect to see him on a best villains list anytime soon.

On the plus side, what little the Taxidermist offers looks absolutely gorgeous. Emanuela Lupaccino, Mick Gray, and Laura Allred give us something truly worthy of Catwoman’s 80th. It’s funny, I wondered why I was so reminded of Mike Allred, despite him not being credited. Once Laura Allred’s name popped up, it was all quite clear.

We dive into Batman Returns territory for “Now You See Me,” as Robson Rocha quite obviously draws Selina in her stitched black leather costume. We even get a brief appearance from the Penguin. Thankfully it all looks pretty. Though the story itself, about Catwoman duking it out with a dirty security guard, is pretty forgettable.

Much less forgettable is Tom King’s follow-up to his “Some of These Days” story from Batman Annual #2. It presents a scenario where a (presumably) married Selina and Bruce Wayne get pregnant and have a baby. Ironically, Selina once had a canonical daughter, though not with Bruce. Poor kid got retconned out of existence by the New 52.

It’s a pretty story that puts King back with Mikel Janin. That chemistry between Bruce and Selina was always his greatest strength during his Batman run. That two-issue “Rooftops” story from issues #13 and #14 will go down as one of the best Batman/Catwoman stories ever published.

My only complaint? We get at least one night of a pregnant Catwoman fighting crime with Batman, costume and all. Ladies? If you happen to be expecting, please don’t try this at home. (As if you needed me to tell you that…)

Our old Batman ’66 friends Jeff Parker and Jonathan Case return for a story about Catwoman and…aliens? I’m sure it’s happened before. But it’s still such an odd match-up. Which, of course, is the point.

Parker and Case take full advantage of the absurd premise, giving us absurd aliens with absurd names and looks that could easily have come from the original Star Trek series. Not to mention the absurdity that the world gets saved by a villainess. Because wouldn’t ya know it, aliens just happened to land when Batman was out of town. Don’t cha hate when that happens?

Things get surprisingly bloody for “A Cat of Nine Tales,” written and drawn by Liam Sharpe. Once again, we have Catwoman and a security guard. When confronted, Selina proceeds to tell the poor guy about nine ways this scenario can end. Most of which involve somebody dying.

I’m not sure the Selina Kyle of 2020 would be this chatty. But I can’t find it in my heart to sling too much mud at this. Aside from Wes Abbott on the lettering, what we see here is all Sharpe. And he manages to tell a coherent story in only three pages. So while by no means perfect, this story is still an achievement.

“Little Bird” is written by Mindy Newell and drawn by…LEE GARBETT!!!! When was the last time he was in Gotham? I’ve still got such fond memories of his work on the Stephanie Brown Batgirl series from…what was it, a decade ago?!? And the man hasn’t lost a step since, as he turns in some fine work here. He and colorist Alex Sinclair do a fine job channeling Batman: Year One. We get a scene where Selina is in similar…er, we’ll call “escort gear” as we see in that story. They also do a hell of a job on the gray David Mazzucchelli Catwoman costume, tail and all.

I was, however, initially confused. The story involves Selina stealing an old mezuzah that belonged to a woman who cared for her as a child. It took me a moment or two to figure out what a mezuzah is, and the identity of this elderly woman in a nursing home. I initially thought we might have jumped into another alternate future for Selina…

Still, they stick the landing. The story speaks to the idea that underneath all the theft and crime, Catwoman has a heart of gold. A great destination, even if the road to get there was a little rocky.

Chuck Dixon, one of the unsung heroes of modern Batman lore, returns alongside Kelley Jones for a Clayface story. Though I hate to say it, this isn’t one of his better outings. Not much to this one. I assume they went with Clayface to suit Jones’ horror strengths. Catwoman finds him, a confrontation ensues, rinse and repeat. I get the sense the only real purpose for this story was to have Selina be in the purple costume from the ’90s.

I know Kelley Jones has his crowd. I’ve just never really been one of them. I will say, though, that his Catwoman is very expressive here. I was pleasantly surprised to see that from him.

Things get downright meta for author Will Pfiefer’s return to the book, as he takes Selina to a comic book convention. He creates a world where the characters themselves are the autograph-signing, question-answering celebrities.

As someone who’s been to a number of these conventions, I found this story charming. Once I got the hang of it, that is. I initially found it difficult to get my bearings. But its a nice little anniversary story, and Pia Guerra’s art is very accessible.

I confess budget constraints caused me to fall off the monthly Catwoman series, so I’m not sure if her sister Maggie has been a regular or not. I have to assume she is, as “Addicted to Trouble” is about the sisters road tripping back to Gotham from Villa Hermosa. Naturally, it’s got a cool car in it. Hijinks ensue.

Thanks to the actions of Black Mask in an early 2000s story by Ed Brubaker and Cameron Stewart (who oddly enough are on the next story), Maggie is unable to speak. But she still makes a nice road-trip buddy for Selina, and we even focus a little bit on that inability. I wish they would have at least mentioned Black Mask in passing, as he wound up being one of Catwoman’s most-hated rivals.

Brubaker and Stewart evoke memories of 2000s Catwoman the same way Kelley Jones does 90s Batman. So their closing story, “The Art of Picking a Lock,” is an automatic sentimental favorite for yours truly. This book wasn’t cheap, but seeing Stewart draw Selina, Holly, and Slam Bradley again is almost worth the price of admission by itself. And as you’d expect, Brubaker’s pulpy writing style is right at home in Gotham City. God damn I miss him being on a Bat-book.

I wouldn’t call this collection memorable. But it’s a nice little tribute to Catwoman with some A-listers contributing, and a couple of nice nostalgia trips to boot. If nothing else, it should make Selina’s fans smile. I certainly did.

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

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.

A Batman, Vol.10: Knightmares Deep Dive – Over His Head

TITLE: Batman, Vol. 10: Knightmares
AUTHOR: Tom King
ARTISTS: Travis Moore, Mitch Gerads, Mikel Janin, Jorge Fornes, Lee Weeks, Amanda Conner, Dan Panosian, John Timms, Yanick Paquette
COLORISTS:
Tamra Bonvillain, Jordie Bellaire, Dave Stewart, Lovern Kindzierski, Paul Mounts, Timms, Nathan Fairbairn
LETTERER:
Clayton Cowles
COLLECTS: Batman #6163, #6669
PUBLISHER: DC Comics
PRICE: $17.99
RELEASED: September 11, 2019

***WARNING: Spoilers lay ahead***

Need to catch up? Boy, have I got you covered. Check out Vol. 1: I Am Gotham, Vol. 2: I Am Suicide, Vol. 3: I Am Bane, Batman/The Flash: The Button, Vol. 4: The War of Jokes and Riddles, Vol. 5: The Rules of Engagement, Vol. 6: Bride or Burglar?, Vol. 7: The Wedding, Volume 8: Cold Days, and Volume 9: The Tyrant Wing.

By Rob Siebert
Fanboy Wonder

He did it again, didn’t he? That sly son of a…

You’ll recall back in Batman #24, Bruce Wayne proposed to Selina Kyle. Huge deal. Huge. A historic moment for both characters. One that could shake up Batman’s whole world depending on Selina’s answer. But of course, they left us with a cliffhanger.

But when Batman #25 came out, we didn’t get one. What we got was the beginning of The War of Jokes and Riddles, a tale from Batman’s past that he had to tell Selina about before she answered. Issue #24 came out on June 7, 2017. Batman #32, the issue where we finally get Selina’s response, didn’t come out until October 4. We had to wait until fall to get the answer because…um…because DC said so. (Although it was pretty obvious she was going to say yes.)

Fast-forward to December 5, 2018. Batman #60 is released, and another bombshell is dropped. The Batman of the Flashpoint universe, Thomas Wayne, not only survived the events of The Button, but has teamed up with Bane against his alt-universe son. Thomas Wayne vs. Bruce Wayne. Father vs. Son. Batman vs. Batman! The stage was set!

Then in the very next issue we got…no answers. Instead we got the issues collected in this book (with two exceptions that we’ll get to in a later date). We wouldn’t see Flashpoint Batman again until May 1, 2019.

Why DC and Tom King loved making us wait so long for cliffhanger payoffs is a mystery to me. But I’ll say this much: Knightmares is a better book than The War of Jokes and Riddles.

1. I Dreamed a Dream…
Toward the end of the book, we discover Batman is hooked up to a contraption that’s giving him very vivid nightmares. I say that not to spoil anything, but to provide context. Plus, between the Knightmares title and what happens once the book starts rolling, it’s pretty easy to see something’s up. Each collected issue contains one of our hero’s bad dreams.

This is the final volume before we get into the “City of Bane” story, which is an astounding 16 issues long. With that many pages to fill, it’s no wonder it felt immensely padded. Like they were just trying to fill space between plot points. While I consider Knightmares a good read, I’ll argue King starts to do that here. It’s a trend that ultimately forces him to limp into the home stretch. For the most part, these issues work. The “City of Bane” issues don’t.

We kick things off in issue #61, as Batman investigates the murder of Thomas and Martha Wayne. The catch? We seem to be in the present day, and young Bruce Wayne is very much present and able to interact with his older self. Obviously it’s a “What if?” story. But it’s not what you might expect.

Travis Moore returns for this story. Once you reach the end, you’ll see how that’s fitting. Colorist Tamra Bonvillain really shines, especially early on. Her use of reds and oranges to depict the lights of Gotham City, contrasted with the deep blacks you’d expect from a Batman story are reminiscent of Francesco Francavilla’s more recent work on the character. That’s damn good company to be in.

2. “They call me MISTER PIG!!!”
Issue #61 is a good start. But here’s where business really picks up. Our sole artist is Mitch Gerads, who almost always does phenomenal work with King. With Batman #62, they create something truly unsettling. At times even horrifying. It opens with our hero hanging upside down in the back of a butcher’s shop, and he’s got some company: Professor Pyg.

And there’s blood. Lots and lots and lots of blood.

I think Professor Pyg, or at least this King/Gerads version of Professor Pyg, is what a lot of fans want the Joker to be like. A horror movie villain with a funny gimmick. Of course, the Joker is so much more than that. But Professor Pyg? As far as that horror villain territory is concerned, he’s got a solid cut of the market share.

This is a really beautiful issue in a twisted sort of way. It’s like a Saw movie with terrifying, horror flick lighting. Perhaps more importantly, when we start the story, Batman is scared. Not that fear gas-induced fear either. He’s genuinely afraid, as any of us would be. Thus, we’re pulled that much harder into the issue. There’s also a lot of confusion on Batman’s end. Why is he there? How did he get there? Why is he unable to hear what Pyg is saying? We follow Batman’s train of thought as he pushes through his fear to defeat his opponent.

And every bit as unsettling as the setting, the villain, and the frantic confusion, is the swerve turn on the final page.

3. Guest-starring…
A Batman/Constantine team-up sounds pretty cool, right? Unfortunately, that’s not what we get here. Not exactly, anyway.

In issue #63, Mikel Janin returns to give us the ending we all wanted for Bruce and Selina. They get married, go on a tropical honeymoon, share big romantic kisses on rainy Gotham City rooftops. All seems well. Then Constantine shows up to tell Batman not only is this a dream, but something awful is going to happen. Remember this is a Batman story, where everybody has dead parents, dead spouses, etc. So even if it weren’t a dream, there’s a 50/50 chance he’d be right anyway.

Why Constantine? I think the logic is “Why not?” Are there characters from Batman’s world that might fit this role better int theory? Sure. But no one so obvious that it ruins anything. I get the sense King just wanted the chance to write Constantine, so he wound up in this issue.

Ditto for the Question in issue #66, in which the framing device is Selina being interrogated about why she left Bruce at the altar. Jorge Fornes is on the pencil here, and he fits a Question story like a glove. Less fitting is Selina smoking a cigarette during the exchange, which I don’t think we’ve seen her do at all in King’s run up to this point. It feels very forced. Like they were looking for that one detail to hit that noir-ish nail on the head, and they just gave her a cigarette because they could.

Issue #66 is also where we start re-treading ground. All this stuff about how Selina sees Bruce? We’ve been reading about it for much of the last 60 issues. There’s no reason to go back there, with the Question no less, unless you’re trying to fill space. It’s a fun issue. But its intentions are clear in hindsight.

Issue #67 consists of one long chase scene, as Batman pursues another masked man across Gotham City. Telling you who the individual in question is would take the punch out of the issue. But it’s worth it for those last two pages. There’s some subtext that you have to read into. But it’s pretty easy to get. Fornes is back for this one, alongside the amazing Lee Weeks. Both those men do a hell of a job capturing that Batman: Year One vibe. Again, mostly stuff we’ve already seen. But there’s still greatness here, in one of the best single issue’s of King’s Batman run.

4. “Make a lane for Lane!”
Amanda Conner does a guest spot for issue #68. As such, it’s not surprisingly we focus mostly on female characters. Superman and Lois Lane are back, as we see what might have been a bachelor and bachelorette party respectively. While Bruce and Clark have a quiet night in, an intoxicated Selina Kyle and Lois most certainly do not. The Fortress of Solitude has never seen that kind of fun…

Yes, King backtracks again here. But if I had to choose one thing for him to go back to, there’s a hell of an argument to be made for the “Super Friends” dynamic. Specifically between Catwoman and Lois Lane. Their dynamic in this issue specifically is sheer joyful and colorful comic book fun. The kind of story that’s practically begging to be adapted into animation. Though if it’s for one of the kids shows they’ll have to cut out the liquor. (Not to mention all the stripping Superman robots.) By God, that almost defeats the whole damn purpose.

The downside? With just three pages left we lose Conner. As her style is so distinct, it’s an abrupt jolt to suddenly switch to fill-in artists. Pun intended: It’s a real buzzkill.

5. “Will You Dance With Me?”
The book closes with, of all things, a dance.

It’s only natural that we close with Bruce and Selina. Especially since almost this entire book takes place in Bruce’s head. While the issue does bounce back and forth between them and a Mikel Janin training scene with Bane and Flashpoint Thomas Wayne, the meat of the issue is in an extended dance sequence. But it’s hardly the Batusi. Yanick Paquette puts out a career issue as the two characters literally slow dance through a dream, through Gotham, through their history.

It’s a positively outstanding, and truly unique usage of the visual nature of the comic book medium. In yet another backtrack, Selina goes through multiple costume changes as she did in issue #44. But in two-page spreads such as the one above, we literally track our characters’ dance steps across the page. The use of sheet music is an absolute stroke of genius, which instantly makes this comic distinct among the thousands upon thousands in Batman’s history.

What’s more, because this is a dream there’s a subtext to it that I really enjoy. The scene is written as Bruce asking Selina why she left him. Her response involves his vow as a child, and how he can never really love her because of his devotion to the Batman, etc. But of course, the question Bruce is really asking is, “Why did she leave me?” Via a dream, he’s venting his own doubts about whether he can ever really love another person. And it ends in pretty much the manner you’d expect such a dream from Batman to end.

But the creme de creme, the moment of moments, comes on the final page of the issue and the final page in Knightmares overall…

Batman friggin’ cries. He doesn’t openly weep. But he cries. It’s not even played up at all. It’s beautifully subtle. Just two little strokes of Paquette’s pencil.

Issues like this are part of what makes Tom King’s Batman run so frustrating. Because he is a good writer. He’s a good Batman writer! He knows what he’s doing. But it feels like he got in over his head. The larger story he was trying to tell got too large and in the end he lost focus. That’s such a damn shame, given how many little gems we find in this run.

Incidentally, the song from issue #69 is one King has used before in his series. Sophie Turner’s “Some of these Days.” It dates back to the ’20s. It’s not required listening. But it’s a great little supplement. I recommend it.

6. Waking Up
There are a few collections in this Batman series that you flat out don’t need to read. Technically, this is one of them. But like Cold Days, it gets a recommendation from me. It’s not an amazing character study altogether. But like Tom King’s Batman run as a whole, it surprises you with moments that are absolute classics.

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

A Batman, Vol. 9: The Tyrant Wing Deep-Dive – Penguin Steals the Show

TITLE: Batman, Vol. 9: The Tyrant Wing
AUTHORS: Tom King, Ram V, Cheryl Lynn Eaton, Jordie Bellaire, Tom Taylor,
ARTISTS: Mikel Janin, Jorge Fornes, Elena Casagrande, Jill Thompson, Otto Schmidt
COLORISTS: Bellaire, Matt Wilson, Trish Mulvhill,
LETTERERS: Clayton Cowles, Steve Wands, Deron Bennett, Troy Peteri
COLLECTS: Batman #58-60, Batman Secret Files #1, Batman Annual #3
FORMAT:
Softcover
PUBLISHER:
DC Comics
PRICE: $16.99
RELEASED: March 20, 2019

***WARNING: There’s a minor spoiler ahead.***

By Rob Siebert
Fanboy Wonder

The Tyrant Wing is more or less a transitionary book. Bruce and Selina’s wedding has happened. Or rather, not happened. We dealt with a lot of the fall-out from it in Cold Days. In The Tyrant Wing we start setting the stage for Tom King’s big finale. A new opponent for Batman emerges. One that even the world’s greatest detective couldn’t possibly have anticipated.

But along the way King, Mikel Janin, and the Batman team unexpectedly do some justice for a character that doesn’t always get the love he deserves: The Penguin.

1. Penny In Your Thoughts
If you’re a guy who happens to be down on his luck romantically, I offer you this bit of consolation: If the Penguin can find a bride, so can you.

Then again, she’s dead now. So maybe that’s not the hopeful example we wanna go with.

Yes, apparently ol’ Pengers had a wife we never saw or heard about. Her name? Penny Cobblepot. Though almost 30 years younger than him, it’s quickly obvious Penguin loved her dearly. Suddenly, he’s a man with nothing left to lose. So he starts spilling secrets. Secrets about Bane…

To Tom King’s credit, this might be the most multi-dimensional take on the Penguin I’ve ever seen. We see pieces of virtually every version of the character. We get the squawking supervillain with the trick umbrellas. We get the freakish, portly gentleman with the soul of a poet. We get the unspeakably cruel crime boss. We even get a small trace of the fish-slurping monster we saw in Batman Returns. Like many Batman villains, we’re against him but we also manage to find some sympathy for him.

Like a lot of fans, I’ve given King my share of grief over some of the choices he’s made on this series. I’ll continue to do so, in fact. But he knocked ol’ Oswald Chesterfield Cobblepot right out of the park.

This is most evident in issue #60. A blindfolded Penguin is locked up in the Batcave talking to Alfred. This is instantly compelling, as we don’t often see Alfred interacting with the villains, much less one he might have something in common with. They bond over, of all things, poetry. At one point, Penguin even calls his anonymous keeper, “my friend.” Alfred then feeds him raw fish by hand. It’s one of those scenes that, considering both characters have been around for decades, it’s shocking it hasn’t been done.

As the Penguin endures heartbreak, Batman punches his way across Gotham searching for the truth about what Bane is plotting. Naturally, this causes a hell of a lot of friction with Gordon and the GCPD. None of this really grabbed me, as we’ve seen this kind of story many times before. Things get a little more engaging in issue #60 when Jorge Fornes tags in for the Batman sequences.

Unfortunately, I do need to make note of one the clunkier lines in this entire run. When Batman barges into Arkham to confront Bane, he’s met by a SWAT team. As he’s dismantling them, while generally being a raging prick about the whole thing, he says among other things…

“Right now, each of you has a choice to make. Do I pull that trigger and get a Bat-boot shoved through my face? Or do I let the man go about his business?”

Yup. Bat-boot. Our legendary hero, everybody.

2. The Butler Does It All
We shift gears here. Venturing away from the main plot, we move to author Tom Taylor and artist Otto Schmidt and one of the best Alfred Pennyworth stories of the modern era. If not all time.

Given the stunt DC recently pulled with Alfred, they put out an issue dedicated to him. Various members of the Batman family shared memories of him. But frankly, something like Batman Annual #3 is a much better tribute issue. It touches on the various things Alfred does to make the whole Batman operation work. But more importantly, it dives  into why he does it and what he gets from it.

Think of it this way: Gotham needs Batman. Batman needs Alfred. So at the end of the day, what does that make Alfred?

3. Batman in Quarantine (Kind of…)
The trade closes out with a Secret Files issue that’s very much a mixed bag. We open up with a three-page Tom King/Mikel Janin story. Or rather, part of a story. As Batman is feeling the wear and tear on his body, Superman just happens to offer him access to a new kind of Kryptonite. Platinum Kryptonite, of which a single touch will grant him the same powers as Superman. The story ends with Bruce asking Alfred, “Am I enough?”

I call BS on this for two reasons.

Firstly, to just end the story on that note, even if it’s only meant to serve as an introduction, is a crime. Batman is literally offered all the same powers as Superman. And you don’t give his answer? What kinda lazy garbage is that? Over a decade ago, DC put out a story called Super/Bat that more or less had this same premise, and Batman does get Superman’s powers. It was amazing. If you want to give your own take on that story, but all means go for it. But to leave it open-ended like that? Screw you.

Secondly, while it’s not a direct line of dialogue, it’s indicated that Superman tells Batman if he touches this new Kryptonite, “Then you can fight as I fight. As you should fight. With true strength.”

No. Wrong. I understand the implication they’re making about where true strength comes from. But Superman’s “true strength” does not come from his powers. It comes from his character. From his ideals. The way he views the world. I don’t have an issue with him offering Batman super powers. But for him to suggest that’s where “true strength” comes from is out of character. Bad form.

After a story about a cop feeling long-term effects from Scarecrow gas, we get one about Waynetech drones winding up in the wrong hands and what Bruce does about it. I actually got more of an Iron Man vibe from that one. The book closes with a team-up between Batman and Detective Chimp, which is fun.

But the only other story in the issue that really sticks out is a tale written by colorist extraordinaire Jordie Bellaire. On Man-Bat’s trail, Batman secludes himself in a cabin amidst Gotham’s snow-covered mountains. As it turns out, this notorious loner doesn’t do so well when he’s forced to be on his own.

The operative line of the story is, “Truth is, I’m not such a fan of myself.”

The central idea here is really compelling. What does Bruce Wayne’s self image look like? What does a man who goes out every night dressed like a bat to beat up criminals think of himself? You could do a whole story on that.

While this was written some time ago, it’s timely to discuss it now. As I type this we’re in the middle of the Coronavirus pandemic. People around the world are quarantined in their homes. Naturally, that’s not always an easy thing to do. Even if you’re Batman.

4. A Bridge Worth Crossing
Is The Tyrant Wing an essential read? No. But is it a good read? Yes. I enjoyed this book more than many of the earlier books in this series. Mostly because of the Penguin. I’ll go ahead and say it: Too many people sleep on him as a character. He’s more than just a portly dude with an umbrella. He’s a scoundrel. He’s a gentleman. He’s an iconic villain.

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, The War of Jokes and Riddles, The Rules of Engagement, Bride or Burglar?, The Wedding, and Cold Days.

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

Weekly Comic 100s: Kylo Ren, Doomsday Clock, Batman Finale

By Rob Siebert
Fanboy Wonder

Yeesh. Talk about a loaded week. Big finales, big debuts, and some Star Wars backstory we’ve been waiting years for. And of course, with big issues, come big upticks in pricing. Mostly at DC. They actually had the gall to charge $4.99 for the Tom King Batman finale. Oye.

But next week is largely a throwaway week. (Unless you’re Marvel. Kudos to them.) So I’ll be able to play a little catch up. So next week’s batch will include Family Tree #2, Shazam #9, Star Wars: Empire Ascendant, Batman/Superman #5.

But for now, we’ve got a lot to get to…

TITLE: Star Wars: The Rise of Kylo Ren #1 (of 4)
AUTHOR:
Charles Soule
ARTISTS: Will Sliney. GuruFX (Colors). Travis Lanham (Letterer). Cover by Clayton Crain.
RELEASED:
December 18, 2019

I was ready to be mad at this issue for giving us stuff we should have gotten in one of the movies. As it turns out, this was benign.

In The Last Jedi, Luke says that after burning down the temple, Ben Solo left with some of his other students. Here, we learn that doesn’t quite mean what it sounds like. We also learn who the Knights of Ren are, which is welcome information.

Not the strongest first issue I’ve ever seen. But the intrigue around what happened to Ben Solo is enough to bring us back for more.

TITLE: Doomsday Clock #12
AUTHOR: Geoff Johns
ARTIST: Gary Frank, Brad Anderson (Colorist), Rob Leigh (Letterer).
RELEASED: December 18, 2019

From the beginning, we’ve known this book has been building toward Superman vs. Doctor Manhattan. A symbol of hope against a symbol of cynicism. The implication being that Superman would ultimately get through to Doc, and bring about a change of heart.

We do get a scene like that in this issue. But it’s so brief, and frankly a little contrived, that it was hardly worth the two years of build-up.

That’s right, folks. Doomsday Clock #1 came out in November 2017. It’s taken us more than two years to get here. Really takes the edge off, doesn’t it?

TITLE: Batman #85
AUTHOR: Tom King
ARTISTS: Mikel Janin, Hugo Petrus, Jordie Bellaire (Colorist), Clayton Cowles (Letterer). Cover by Tony Daniel.
RELEASED: December 19, 2019

Here we have yet another big finale that ends not with a bang, but with a whimper.

Tom King is a good writer. I believe that. But for whatever reason, this “City of Bane” story went on way too long, and he ended up overstaying his welcome on Batman. The truly sad part? There’s a good story in here if you rifle through it, and maybe rearrange some pieces.

On the upside? Mikel Janin’s work on Batman has been consistently great. As far as I’m concerned, he’s welcome back in Gotham any time.

TITLE: American Jesus #1
AUTHOR: Mark Millar
ARTISTS: Peter Gross, Jeanne McGee (Colorist), Cory Petit (Letterer). Cover by McGee and Frank Quitely.
RELEASED:
December 18, 2019

A 14-year-old Hispanic girl becomes the modern-day Virgin Mary in a story written by the guy who did books like Kick-Ass and Nemesis? Sure. Sounds harmless enough…

Maybe it’s me, but the art in this book seems a little weird. Like the proportions are just a touch off. It’s minor, just just prominent enough to be noticeable.

There’s a lot of intrigue here, given the sensitive topic and Millar’s penchant for the outlandish. While there’s nothing blasphemous in this issue (at least as far as I can see), I figure it’s just a matter of time.

TITLE: Spider-Man #3 (of 5)
AUTHORS: J.J. Abrams, Henry Abrams
ARTISTS: Sara Pichelli, Elisabetta D’Amico (Inking Assistant), Dave Stewart (Colorist), Joe Caramagna (Letterer). Cover by Olivier Coipel.
RELEASED: December 18, 2019

Tony Stark pops up in this book, and now our story has an Avengers angle to it. That’s disappointing. This is a story about the legacy of Spider-Man, and the strained relationship between a father and son. So why not keep the lens focused on Spidey’s world, and not open things up to the larger Marvel Universe until later? We need to be focusing on Ben right now. Not some wacky take on Tony Stark as an old man.

On the upside, we get further into who Cadaverous is. Good stuff, with Pichelli’s art on point.

TITLE: Suicide Squad #1
AUTHOR: Tom Taylor
ARTISTS:
Bruno Redondo, Adriano Lucas (Colorist), Wes Abbott (Letterer). Cover by Ivan Reis.
RELEASED:
December 18, 2019

While it lacks the impact and sizzle of a Jim-Lee-drawn debut, this issue has some intrigue to it. We’ve got three mainstays in Deadshot, Harley, and King Shark. But we’ve also got a big group of new characters. They kind of look like what Marv Wolfman and George Perez would produce if asked to produce a modern team of superheroes.

Mind you, some of them are dead when we close the issue. But if even one of them sticks for a decent amount of time, that’s an accomplishment.

TITLE: Mighty Morphin Power Rangers #46
AUTHOR: Ryan Parrott
ARTISTS: Daniele Di Nicuolo, Walter Baiamonte (Colorist), Katia Ranalli (Color Assistant), Ed Dukeshire (Letterer). Cover by Jamal Campbell.
RELEASED: December 18, 2019

A few little things I noticed that aren’t out of character per se, but perhaps show how these characters are different in this time period…

– Tommy’s more relaxed demeanor now that they’re seemingly no longer Earth’s last line of defense.

– Kimberly stepping up into more of a leadership role with the three new Rangers.

– Trini’s more sarcastic personality. It’s not how I would write the character, as she’s normally more reserved. But we can chalk it up to her gaining confidence through her experiences as a Power Ranger.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.

A Batman: The Wedding Review – Who Invited the Damn Joker?!?

TITLE: Batman, Vol. 8: The Wedding
AUTHOR: Tom King
PENCILLERS: Tony Daniel, Clay Mann, Mikel Janin
INKERS: John Livesay, Sandu Florea, Danny Miki
COLORISTS:
Tomeu Morey, June Chung
LETTERERS: Clayton Cowles
COLLECTS: Batman #4550, portion of DC Nation #0.
FORMAT: Softcover
PUBLISHER: DC Comics
PRICE:
$16.99
RELEASED:
October 24, 2019

By Rob Siebert
Fanboy Wonder

Welp, this was a big one. A pivotal moment in Batman’s world. Or was it? I mean, it certainly could have been…

Either way, this book pissed a lot of people off. And not just with the pay-off (or lack there of) to a year’s worth of build-up. Tom King and the Batman crew had been cranking up the weirdness factor with the last several issues. And not necessarily weird in a good way. It was more weird in a, “Huh?” way. There’s a strong argument to be made that the weirdness reaches its apex here, in a three-issue story called “The Gift”…

1. What’s your refund policy?
Linkara actually did a masterful job of roasting “The Gift” in a recent episode of Atop the Fourth Wall. But I’ll touch on the broad strokes here.

In an ill-conceived attempt to give Batman a wedding gift, Booster Gold and Skeets travel back in time to stop the murder of Thomas and Martha Wayne. The idea was to give Bruce an It’s A Wonderful Life moment, i.e. a chance to see what the world would be like without Batman. And indeed, the world is worse off for him being gone. Much worse. The nation of “Eurasia” is ruled by Ra’s al Ghul. The Penguin has become president of the United States. Selina Kyle is a serial killer who only speaks in meows. Gotham is infected by a “Joker” insanity plague. Meanwhile, Dick Grayson is a homicidal Batman whose costume is covered in firearms and explosives. When Booster finds himself trapped in this horrific reality he’s created, he has no choice but to try and…well, take back his gift.

Perhaps the most prominent theme, of Tom King’s Batman run has been the question of whether or not Bruce can actually be happy. It’s a hell of an idea to explore. I get the sense that’s what “The Gift” is trying to do. Would Bruce be happier if his parents hadn’t been killed? And considering how the world looks without Batman, is everyone better off with him being unhappy, yet serving a greater good?

However, in terms of plot holes, “The Gift” looks like friggin’ swiss cheese.

Let’s start with Booster Gold. Setting aside that King portrays him as a complete doofus, his plan makes no sense. By the classic Back to the Future, Part II logic, if you travel back in time and change something critical, reality will change around you. The world you return to may be drastically different than the one you left behind. So Booster goes back in time to stop the Wayne murders, thus preventing Bruce from becoming Batman. Once he does that, how does he expect to return to the present day and show Batman what he’s done? Batman doesn’t exist! That was the idea behind this whole cockamamie scheme in the first place!

What’s more, with this story King, like so many other writers, falls victim to Batman worship. Would the world be different without Batman? Or at least the Batman we know? Yes. But does the entire world fall into chaos without Batman? Remember, we’re still in the DC Universe. The Wayne murders had nothing to do with the origins of Superman or Wonder Woman. Hell, we even see Green Lantern in this story! (Albeit in a gratuitously violent manner.) You’re telling me no other heroes could have stopped Ra’s al Ghul from conquering half the planet?

Dick Grayson becoming Batman, much less a Batman who’s more like the Punisher, makes no sense either. How does Dick get the whole bat motif if he’s not taken in by Bruce? Did a rogue bat somehow fly into Haley’s Circus and snap those trapeze wires?

In addition to serving as an extremely bizarre look into an alt-universe Gotham City, “The Gift” essentially serves two purposes. First, like “Everyone Loves Ivy” in the last collection, it helps set the stage for Heroes in Crisis, in which Booster has a major role. Secondly, it gave them a reason to have Tony Daniel draw Catwoman in her Batman Returns costume. But Christ on a cracker, if they wanted to work that in, there had to be a better way than this. Just say it’s a failed prototype costume Selina made. You don’t have to alter the damn timeline…

2. Who Invited the Damn Joker?!?
Well, it was only a matter of time, wasn’t it? You can’t do a big story like this and not have the Joker around in some form.

Mikel Janin is back for the two-issue story, “The Best Man.” But before that, we get a little gem from DC Nation #0 drawn by Clay Mann. The Joker breaks into a random house, and holds a man hostage while he waits for the mail to come, inexplicably expecting an invitation to Batman’s wedding. By and large, I’m not necessarily in love with Clay Mann’s take on the Joker. But there are two shots he absolutely nails. The first is the opening splash page. The second is the panel at left.

Tom King writes a decent Joker. He’s good at working humor into the horror, one of the hallmarks of a great Joker writer. The Clay Mann story, “Your Big Day,” and the first several pages of Batman #48 are really good. But as the proceedings continue, he runs into a familiar problem: Joker, and later Catwoman, talk too much in attempts at banter. This is especially true in issue #49, which consists almost entirely of them talking about “the old days,” and Joker’s worry that a happily married Batman wouldn’t be funny, and might ultimately cease to exist.

The big problem I have with issue #49 isn’t so much about the banter attempts. It’s that the Joker, for lack of a better term, talks straight with Selina. He drops the act. He talks like a normal person, as if to an old friend. That’s the idea, I suppose. But I believe that on the rare occasions the Joker does that, it has to be brief yet impactful. It has to mean something.

Consider it this way: Tom King and Mikel Janin clearly have a fondness for The Killing Joke, the classic story by Alan Moore and Brian Bolland. At one point Joker even refers to the church they’re in as the “Moore Cathedral” on “Bolland Ave.” For those of you who’ve read it, think about that final scene where Batman extends that olive branch to the Joker, and the Joker simply and quietly responds. For just a few precious moments, he’s not a monster anymore. Then he goes into a joke, and brings himself back into character.

Now…what if he’d been like that for a huge chunk of the story? Or the entire story? Not in the flashback scenes, mind you. The ones in the present day. Takes a lotta the punch out of the story, doesn’t it?

3. The Moment of Truth
Artistically, Batman #50, the wedding issue, is a beautiful tribute to the dynamic these two characters have shared for nearly eight decades. There are splash pages, pin-ups essentially, by the likes of Neal Adams, Frank Miller, Tim Sale, Jim Lee, among numerous others. You can argue work like that is worth the $16.99 on its own. Meanwhile, we’ve got Janin back for the story proper.

While I think this Batman run has soured a lot of people’s perceptions of Tom King following his stellar run on Vision, he’s on his A-game for this issue. As he damn well should be. There’s an absolutely beautiful one-page scene between Bruce and Alfred. Depending on how invested you are in them and their surrogate father/son dynamic, it may even move you to tears.

The ending of this issue, i.e. the outcome of the wedding, had a lot of people crying foul. I’m not going to get into spoilers, but it’s been over a year since the issue was published. So I feel comfortable enough saying fans thought DC didn’t deliver on what they’d promised.

But let’s be honest: These are mainstream superhero comics, where marriages either get retconned out of existence, or are mystically evaporated via deals with Mephisto. At best, there was only a 50/50 chance they were going through with the wedding anyway. Plus, it’s not like they had the Joker, or God forbid Kite-Man, come in and break up the ceremony. They tied it into what had already been established in the 49 issues prior, and the big theme of Bruce and happiness. Was the final outcome predictable? Absolutely. Even a little bit of an eye-roller. But it works. Especially with the benefit of hindsight.

When discussing a potential marriage between Batwoman and Maggie Sawyer, DC Co-Publisher Dan DiDio once famously said in 2013…

“Heroes shouldn’t have happy personal lives. … They are committed to being that person and committed to defending others at the sacrifice of their own personal interests. It’s wonderful that they try to establish personal lives, but it’s equally important that they set them aside. That is our mandate, that is our edict and that is our stand with our characters.”

DC would ultimately scale back on that philosophy. For instance, they re-established the marriage between Superman and Lois Lane. But I think fans who were in the know about DiDio’s remarks saw this ending as a step backward.

I think that’s an understandable sentiment, but perhaps a bit premature. As of this writing, Tom King has one issue of Batman left, which happens to be an extra-sized 48-pager. Then he’s got a 12-issue Batman/Catwoman maxi-series coming in 2020. So he’s clearly not done with them yet. I’m not saying I expect anything in particular to happen. I’m just keeping an open mind as we move ahead.

4. I Now Pronounce You…
Batman: The Wedding is a red letter moment in the history of two iconic characters. For that alone, it’s worth a read. And for all the blunders King has made during his Batman run, he got the wedding itself right. Mikel Janin’s art continues to amaze, standing tall on its own even with additions from iconic Batman artists. And hey, if train wrecks are your thing, you’ll definitely want to check out “The Gift.”

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, The War of Jokes and Riddles, The Rules of Engagement, and Bride or Burglar?.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.

Weekly Comic 100s: MMPR/TMNT, Over the RopesBatman

***”Weekly Comic 100s” keeps it nice and simple. Comic book reviews in 100 words or less. Nothing too in-depth here. Just straight, concise, and to the point.***

***Author’s Note: If I display a variant cover, it’s because I purchased the issue in question with that cover.***

By Rob Siebert
Fanboy Wonder

TITLE: Mighty Morphin Power Rangers/Teenage Mutant Ninja Turtles #1
AUTHOR:Ryan Parrott
ARTISTS: Simone di Meo, Walter Baiamonte (Colorist), Igor Monti (Color Assistant), Ed Dukeshire (Letterer). Variant cover by Goni Montes.
RELEASED: December 4, 2019

Surprisingly, they don’t go the trans-dimensional portal route with this one. This book seemingly has the Rangers and the Turtles living in the same universe. So…does that mean these are the Next Mutation Turtles that go on to meet the Space Rangers? *gulp*

This looks like it’s going to be a pretty standard first-time team-up story. The two teams start out against one another, then work together to face the enemy. But our heroes are in good hands with Ryan Parrott and Simone di Meo.

God damn, those Goni Montes covers are instantly iconic…

TITLE: Over the Ropes #1
AUTHOR: Jay Sandlin, Francesco Segala (Colorist), Justin Birch (Letterer).
ARTISTS: Antonello Cosentino
RELEASED: December 5, 2019

“Wrestling is like religion. You get it or you don’t.”

That’s amazing. Both as an opening line, and a simple philosophy regarding pro wrestling.

Wrestling comics have never really done it for me. Which makes no sense, of course. They’re my two big interests, yet I don’t like them together. But Over the Ropes held my interest, at least. They start off seemingly going with a standard “underdog’s quest for the title” story, but then we get a twist that shakes everything up.

I’ve got a good feeling about this one. I’ll be back for issue #2.

TITLE: Batman #84
AUTHOR:
Tom King
ARTISTS:
Jorge Fornes, Jordie Bellaire (Colorist), Clayton Cowles (Letterer). Cover by Mikel Janin.
RELEASED:
December 4, 2019

We should have gotten this content several months ago. It wouldn’t have saved “City of Bane,” but it would have added some valuable depth to Thomas Wayne.

This book consists mostly of flashbacks, but done in reverse order. We start with the Flashpoint Batman’s recent actions in Gotham City, and go all the way back to before young Bruce Wayne was murdered. (See Flashpoint.)

The reverse order thing is cute in theory, but I found it tough to follow. It didn’t always jog the memories it was supposed to. You might be better off reading this issue back to front.

TITLE: Young Justice #11
AUTHOR: Brian Michael Bendis
ARTISTS: John Timms, Gabe Eltaeb (Colorist), Wes Abbott (Letterer)
RELEASED: December 4, 2019

A decent issue. But it left me with some questions…

So let’s say I get transported elsewhere in the multiverse. Then somebody goes back in time and causes a dramatic temporal shift, altering the course of the world, and my life with it. If I’m elsewhere in the multiverse when that happens, am I somehow unaffected? Wouldn’t my memories change? And if/when I come back to my now altered world, does my mere presence restore their memories of me from the prior timeline? Do the ripples caused by a said shift not reach across the multiverse?

Asking for a friend.

TITLE: Collapser #6
AUTHORS: Mikey Way, Shaun Simon
ARTISTS:
Ilias Kyriazis, Cris Peter (Colorist), Simon Bowland (Letterer)
RELEASED:
December 4, 2019

You know what sucks? When you really get into a new series, and then remember it’s not a series. It’s a six-issue mini. Rrrrgh.

Either way, Collapser wound up being pretty damn good. This is a book you can hold up as an example of what the Young Animal imprint is capable of, and how it’s different. In terms of both writing and art.

Here’s what I will say: This issue felt a little rushed. I’m inclined to think that means they had a bit more story they could have told. If that’s the case, it’s a cryin’ shame.

TITLE: Lois Lane #6
AUTHOR: Greg Rucka
ARTISTS: Mike Perkins, Gabe Eltaeb (Colorist), Simon Bowland (Letterer)
RELEASED: December 4, 2019

This issue is all about the death of General Sam Lane, Lois’ father, in Event Leviathan. Perhaps fittingly, the pre-New 52 Sam Lane was killed off in an event comic as well. The poor guy is just snake bit…

It’s frustrating that we’ve brought the story to a full stop just so we could lament the death of Sam Lane. But with the exception of an awkwardly drawn facial expression Lois has while accepting an American flag at the funeral, the issue is at least done well. It also sticks its landing with a genuinely touching final page.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.

A Batman: Bride or Burglar? Review – What Might Have Been…

TITLE: Batman, Vol. 6: Bride or Burglar?
AUTHOR:
Tom King
PENCILLERS: Travis Moore, Joelle Jones, Mikel Janin
COLLECTS: Batman #3844
FORMAT:
Softcover
PUBLISHER: DC Comics
PRICE: $16.99
RELEASED: July 25, 2018

By Rob Siebert
Fanboy Wonder

This is the part of Tom King’s Batman run where things start to get weird. Like, really, really weird.

Bride or Burglar? is book-ended by two strong single issues. But in between, King starts needlessly messing around with space-time. He also plants some seeds for Heroes in Crisis that, like much of that ill-conceived event comic, are needlessly awkward and forced. There’s one bit that’s downright blasphemous. From a quality standpoint, this is the lowest the series has dipped up to this point.

But let’s start by focusing on the positives, shall we? And to do that, we have to jump to the last story in this collection…

1. History Lesson
The highlight of the trade is easily Batman #44, which features the titular “Bride or Burglar” story. It sees Selina hunting for a wedding dress as only Catwoman can. But interspersed among the story are actual scenes from Batman and Catwoman’s history that King and Janin make their own, with most of the original dialogue intact. We go as far back to the original Batman #1 in 1940, through the ’50s, on into the ’60s, ’70s, and ’80s, all the way to the present.

While they do take certain creative liberties, they keep Catwoman’s various different costumes intact. As such, we not only get a sense of how her relationship with Batman has evolved, but how her Catwoman persona has evolved over its lifespan. For history buffs like yours truly, it’s an absolute treat. Story-wise, there’s also a wonderful little moment between Selina and Alfred on the final page.

Tom King’s Batman run has gotten a lot of flack, much of which is justified. But I’ll never knock the way he makes Bruce and Selina’s chemistry radiate off the page. Their familiarity, their intimacy with one another on a strictly verbal scale, is enough to make you believe they love each other, and perhaps should be married.

2. Who is Bruce Wayne?
Jumping back to the start of Bride or Burglar, Batman #38 introduces us to one of the most unlikely villains in all of Batman lore. I won’t spoil the specifics of who it is, but the character’s M.O. is that he models himself after Bruce Wayne. He essentially wants to become Bruce Wayne, which naturally puts Batman in a rather awkward spot. It’s been said that many of Batman’s enemies are, at their core, different versions of what Bruce could have become after his parents were killed. This premise takes that idea so literally that it’s actually pretty clever. We also spend some time doing C.S.I. type stuff with Batman and Commissioner Gordon, which is always fun.

Our guest artist for the issue is Travis Moore, joined by colorist Giulia Brusco. I can’t say I fell in love with their work here. But it was serviceable. No harm no foul.

3. The Eternal Vow
Here’s where we start to run into trouble.

In issue #39 we meet the Gentle Man, a warrior from another realm who spends night and day single-handedly fending off an army of monsters called the Hordes of Gehenna. Apparently, some time in the past Batman and Wonder Woman met and fought alongside the Gentle Man. They offered to take up his fight for a day and allow him to rest. But what he neglects to tell them is that minutes on Earth equate to years in this other realm. Thus, Bruce must not only fight alongside Diana for what winds up being about 30 years in relative time, but he must remain faithful to Selina. That’s not necessarily easy when you’re in the trenches with an Amazonian Princess.

While Joelle Jones is very much in her element with the battle scenes, this whole “Eternal Vow” story winds up being stupid and pointless filler on the path to the wedding in Batman #50. Bruce and Selina didn’t need a fairy tale story like this to emphasize the love they have for each other. A huge part of their appeal is that they’re not the fairy tale lovers destined to be together. They’re two orphans who met when their bizarre and violent paths happened to cross, and they fell into a unique kind of love. That’s all you need with them.

Furthermore, I don’t buy that Bruce comes out of that realm the same person. Yes, he’s Batman. But that’s not a get-out-of-jail-free card for crap like this. Both he and Diana would be shells of their former selves. Nearly unrecognizable to anyone who knew them before.

As if that weren’t enough, Tom King has trouble writing Wonder Woman. Her dialogue is acceptable, but very weird. At this point, she’s been an active hero for years, right? But King writes her as if she’s just stepped out of Themyscira. It’s needlessly off-putting. And sadly, Diana isn’t the only Justice Leaguer to get a bad shake here…

4. Crazy Love
In “Everyone Loves Ivy,” Poison Ivy is able to gain control over the minds of everyone on the planet, except for Batman and Catwoman, who are able to fight it off using comic book science. Thus, it’s literally them against the world.

I like parts of this idea. It puts Ivy over huge, as she becomes a Justice-League-level threat, and is ultimately victorious. How she went about gaining the mind control is believable. The way they beat her is a little hokey, but acceptable given the parties involved.

Mikel Janin is back for these issues, and he really knocks it out of the park with all the greenery and foliage this story requires. Rarely has a Poison Ivy lair looked so good. I also give King and Janin credit for showing us what would actually happen if Superman full-on punched Batman in the face. It ain’t pretty, folks.

Sadly, I was yanked out of the story rather abruptly during the first issue. Ivy attempts to use the Flash against Batman. Barry Allen runs at him, or more specifically at Alfred, using his super-speed. Batman knocks him out with a single punch, effectively an inexplicably knocking him out of super-speed. What’s worse, this happens three more times in the following issue. Not just to Barry, but to Wally West and Kid Flash. Apparently Catwoman is also inexplicably capable of defeating the Flash with a single blow…

Bull. Shit.

I normally shy away from profanity. But this one deserved it. Shame on both Tom King and the Batman editorial team. You don’t get to turn the Flash and his supporting cast into a gag because you aren’t creative enough to find a better way to neutralize them. This is especially offensive in hindsight, given what King does to Wally in Heroes in Crisis.

In the end, Heroes in Crisis was the master this story served. It planted the seed (no pun intended) for Ivy’s role there. As such, her motivation involves a specific trauma from The War of Jokes and Riddles that we never saw, and thus can’t connect with as easily. So when the story tries to pivot and make her a victim, it fails because despite that trauma, she still took over the damn world. To an extent, she just made victims out of billions of innocent people. So you’ll pardon me if I’m rather unsympathetic.

5. The Verdict
Bruce proposed to Selina in Batman #24. I’m assuming by that point the knew the wedding was going to be in issue #50. So they had 25 issues to fill before the big pay-off. Some of the storytelling was very organic, i.e. the one with Talia al Ghul from Rules of Engagement. “Bride or Burglar” worked very well. The stuff with Superman and Lois Lane was fun.

But then you’ve got stuff like “Eternal Vow” and “Everyone Loves Ivy,” which are somewhat apropos, but still bizarre choices to fill that gap. It seems like we could have spent at least some of those issues figuring out how Selina adjusts to being in Batman’s inner circle. What sort of changes does it require of her? Are Batman and Catwoman essentially the new Dynamic Duo of Gotham City? What about Thomas and Martha Wayne? What was their wedding like? And how does Bruce think they’d react to his choice for a bride?

This obviously isn’t going to be the status quo forever. So why not mine this wedding stuff for as much character exploration as possible? They could still have told fun and compelling stories along the way. But instead we’re left with a feeling of missed opportunities, and the nagging question of what might have been.

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, The War of Jokes and Riddles, and The Rules of Engagement.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.

 

Weekly Comic 100s: Undiscovered Country, Legion of Superheroes

*”Weekly Comic 100s” keeps it nice and simple. Comic book reviews in 100 words or less. Nothing too in-depth here. Just straight, concise, and to the point.***

By Rob Siebert
Fanboy Wonder

TITLE: Undiscovered Country #1
AUTHORS: Scott Snyder, Charles Soule
ARTISTS: Daniele Orlandini, Giuseppe Camuncoli, Matt Wilson. Lettering by crank!
RELEASED: November 6, 2019

This is one of those stories that’s just close enough to being possible that it’s…unsettling.

The United States of America walled itself off from the rest of the world 30 years ago, with no foreigners coming in or out. Now, as war and disease ravage the rest of the world, an American representative mysteriously invites diplomats behind the wall. What they see is…unexpected.

While it’s got a lot of the standard exposition you need in a first outing, I highly recommend this one . It’s worth the price alone for that first two-page shot of the border wall…

TITLE: Legion of Superheroes #1
AUTHOR: Brian Michael Bendis
ARTISTS: Ryan Sook, Wade Von Grawbadger (Co-Inker), Jordie Bellaire (Colorist), Dave Sharpe (Letterer)
RELEASED: November 6, 2019

I’ve never been able to get into the Legion of Superheroes. Long story short: Too many characters to keep track of, and not enough reasons for me to care about any of them.

This first Legion issue is gorgeous, and there are a few cool ideas in it (most notably what’s happened to the Earth). We even have Superboy as our fish-out-of-water main character. But for me, it ultimately suffers the same fate as every other take on this world. They really needed a strong hook with this first issue. I didn’t see one.

TITLE: Young Justice #10
AUTHOR: Brian Michael Bendis
ARTISTS: John Timms, Nick Derington, Gabe Eltaeb and Dave Stewart (Colorists), Wes Abbott (Letterer)
RELEASED: November 6, 2019

While Naomi is advertised on the cover, she appears on exactly one page and says nothing. Just sayin’…

Still, Bendis fares much better with this group of teen heroes. Ten issues in, Young Justice is still a lot of fun. This month, Tim Drake gets a new hero name (“Drake”) and costume that the verdict is still out on for me. But at least now he’s got his own identity, independent of his history as Robin.

In addition, our main story is juxtaposed with an origin story for Jinny Hex, which adds a grounded, almost gritty texture to her.

TITLE: Batman #82
AUTHOR: Tom King
ARTISTS: Mikel Janin, Jordie Bellaire (Colorist), Clayton Cowles (Letterer). Cover by David Finch and Alex Sinclair.

This cover has a weird gimmick to it. A thin plastic with the logo and the explosions, with the shot of Bane on the inside page. But said page is just another cover. So…what was even the point?

Thankfully, Mikel Janin is back as Batman and Catwoman take on Bane. It’s got all the quips we’ve come to expect from Tom King at this point. Frankly, it’s gotten too over the top for me.

While ambitious, “City of Bane” is starting to feel padded and drawn out. Keep in mind, we’ve got three issues to go.

TITLE: Lois Lane #5
AUTHOR:Greg Rucka
ARTISTS: Mike Perkins, Gabe Eltaeb (Colorist), Simon Bowland (Letterer)
RELEASED: November 6, 2019

The opening pages of this issue are awesome, as Lois talks to another passenger on a plane. Rucka plays devil’s advocate about “fake news.” Later, he actually dives into what terms like “off the record,” “on background,” and “deep background” mean. As a former journalist, I love that stuff.

While Lois Lane is a great read, I admit I’m having trouble keeping track of what the central mystery actually is. The murder of a journalist sparks Lois and Renee Montoya’s investigation into a high-level government conspiracy. Still, they’ve got me coming back for more, and that’s what matters.

Follow Primary Ignition on Twitter, or email Rob at primaryignition@yahoo.com.

Astonishing Art: Batman: The Animated Series by Rick Celis

By Rob Siebert
Fanboy Wonder

If you’re a ’90s kid like I am, chances are you’ve got a soft spot for Batman: The Animated Series. For my generation, and even for a number of younger fans, it’s the definitive take on Batman and his world.

As such, artist Rick Celis and his many tributes to the series have hit me right in the nostalgic feels. Not only has Celis nailed down the look of the characters and the show, but he often uses it to pay tribute to more current works.

To illustrate, I’ve included some of my favorites below. You’ll see his send-ups to the Jim Lee variant for Batman #50, and the main cover for Batman #42. He’s also prone to giving nostalgic goodies like this tip of the hat to Runaway Bride (in the spirit of the recent Batman/Catwoman wedding, of course).

More of Celis’ work can be found on DeviantArt, Twitter, Instagram, and Patreon.

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