Tag Archives: Poison Ivy

Toy Chest Theater: Poison Ivy by Sebastien Glorian

By Rob Siebert
Fanboy Wonder

People love to take pictures of toys outside in the grass. Browse action figure photography shots on Instagram or Twitter, and they’ve practically a dime a dozen. I can see why. The natural light. The contrast between the plastic and the plant life. On the surface, it’s a great contrast. It certainly beats shooting them against a blank wall.

This, however, is one of the best “outside” shots I’ve ever seen. For obvious reasons, it makes sense to shoot Poison Ivy among greenery. But Sebastien Glorian did more that just stick her in a bush somewhere. He went the extra mile and mixed up the green with some pink, which adds to the pose the figure is taking. And then you’ve got the sunlight on the hair and skin as the icing on the cake.

It’s a pretty simple shot, when you think about it. Glorian put the figure in the right spot, and let nature do the work. Ivy would be proud.

Sebastien Glorian can be found on Instagram.

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

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

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

By Rob Siebert
Editor, Fanboy Wonder

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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A Convergence: Nightwing/Oracle #1 Review – Under the Dome

Convergence: Nightwing/Oracle #1 coverTITLE: Convergence: Nightwing/Oracle #1
AUTHOR: Gail Simone
PENCILLER: Jan Duursema. Cover by Jill Thompson.
PUBLISHER: DC Comics
PRICE: $3.99
RELEASED: April 8, 2015

By Rob Siebert
Editor, Fanboy Wonder

Having Gail Simone write Oracle again is almost worth DC not publishing any New 52 content for two months. That’s how badly this character has been missed. At least by me. And to see Nightwing wearing blue again, as opposed to red? Bonus!

Via the events of Convergence, Gotham City in the pre-New 52 Gotham City has been under a mysterious impenetrable dome for a year. Some, like Dick Grayson/Nightwing, have adapted to the situation as best they can. Others, like Barbara Gordon/Oracle and Mr. Freeze, have begun to lose their resolve. The city is struggling to survive amid depleted resources. Oddly enough, Poison Ivy has supplied the city with produce. (“I think of the times I jailed her, laughing about it, and I’m ashamed.”) But as Dick is preparing for a monumental moment in his relationship with Barbara, the dome comes down, and Hawkman and Hawkwoman of the Flashpoint universe are looking for a fight. And while Oracle might not be much of a physical challenge for the super-powered Thanagarians, they would be fools to underestimate her…

Convergence: Nightwing/Oracle #2The notion of Barbara losing her hope is obviously off-putting. This is a character that’s been through so much already. Not just with the loss of her legs, but everything that’s happened to her father, and her discovering that her brother is a psychopath. This development in a character so famously full of resolve is hard to swallow at first. But Gail gets us there. It does make sense that a character whose passion in life revolves around the flow of information would grow depressed being cut off from the world at large for a year. To the best of my recollection, she’s never been in a situation quite like this before.

From an artistic standpoint, this is very much the Oracle we remember. She’s a bit older, with the longer hair and the familiar glasses. We also get her narration via familiar green text boxes. It’s all wonderfully familiar.

Convergence: Nightwing/Oracle #1, NIghtwing, Mr. FreezeOn the downside, while it’s great to have Nightwing’s blue V-stripe back, the rest of his costume is a disappointment. It’s very overdone, complete with built-in abs and shoulder pads that don’t really make sense. It’s very much in line with what we’ve seen from Injustice: Gods Among Us and the Arkham games. I gave DC a lot of crap over their putting red into the New 52 Nightwing costume, the artists on that book were able to maintain the costume’s sleekness most of the time. This one just seems too…lumpy.

I’m not hugely invested in Flashpoint Hawkman and Hawkwoman being the bad guys in this book. But it makes sense, what with the whole bird motif. The ending was enough to get me to come back for part two next month. The impression we get is that next issue, Oracle strikes back. That, along with Nightwing being in the mix, is more than enough to get me to put down another $3.99.

Image 1 from blacknerdproblems.com. Image 2 from dangermart.blogspot.com.

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